life

Reuben Owen will be going head-to-head against Jess’ dad in tonight’s Season 3 finale.

Reuben Owen Life in the Dales is almost over once again – but there’s a silver lining.

Spreading his wings away from his family’s original Channel 5 show Our Yorkshire Farm, eldest son Reuben Owen takes centre stage in his own series Life in the Dales.

The ambitious 22-year-old entrepreneur has been continuing to tackle building up their plant machinery and groundwork business with help from his friends and girlfriend Jess.

Season 3’s ninth episode and grand finale airs tonight, Tuesday, June 30, spelling the end of the popular docu-series with no confirmation of a fourth outing just yet. However, fans of the young Yorkshire farmer will be thrilled by its Channel 5 replacement on TV schedules next week.

Series 3 might be ending but next Tuesday, July 7, fans are going to be treated to a repeat episode from Reuben Owen Life in the Dales Season 2.

The instalment that’s taking up the primetime slot at 8pm will be episode seven where Reuben celebrates his 21st birthday with a vintage tractor journey. His girlfriend Jess also organises a cute surprise of balloons and a cake which is secretly transported under his best friend Tommy McWhirter’s tractor engine.

As of yet though, it isn’t clear if this is just a one-off repeat of Life in the Dales or if Channel 5 is going to continue airing episodes every Tuesday.

But before fans step back in time, there is the Season 3 finale to get excited about. The official synopsis for tonight’s episode reads: “With lambing season well underway, Reuben and Jess race to stock-proof the fences at Brough Castle Farm before more than 300 newborn lambs arrive in the fields.

“However, when Reuben challenges Jess’s dad Dave to a battle of man versus machine, Jess is left caught in the middle.

“Capper and Sonny attempt to breathe life back into a vintage tractor, but getting it to run proves tricky.”

Reuben Owen Life in the Dales is available to watch on Channel 5.

Shops reopened and public transport services partially resumed in Pakistan-administered Kashmir after weeks of deadly clashes between police and protesters, who demanded economic and governance reforms.

BBC viewers paid tribute to Dame Penelope Keith, following her death aged 86, as the broadcaster aired a special episode of The Good Life.

BBC viewers have been left “heartbroken” as they paid tribute to an iconic actress.

In a change to scheduled programming, the broadcaster made the decision to honour Dame Penelope Keith with a classic episode of The Good Life on Monday, June 29.

Dame Penelope, star of the 1970s British sitcom, died aged 86, with her family releasing a statement.

They said she “died peacefully whilst living with cancer at her home in Surrey”.

As fans mourned the To the Manor Born actress and friends paid tribute, the BBC confirmed the Margo Leadbetter actress would be remembered with the episode airing on BBC Two.

From the third series of The Good Life, it followed war breaking out between the Goods and the Leadbetters, “proving there is nothing like a good fight over the fence to cement relationships”.

Jon Petrie, Director of BBC Comedy said: “All of us at BBC Comedy are deeply saddened to hear of the passing of Dame Penelope Keith. She was one of the defining figures of British television comedy.

“Her iconic performance as Margo in The Good Life remains one of the nation’s most beloved sitcom roles and continues to delight audiences today.

“We send our heartfelt condolences to her family, friends and all of those who had the privilege of working with her.”

Watching the repeat episode, one person wrote on X: “Just watched #TheGoodLife on bbc as a tribute to Penelope Keith. Still very good!”

Another said: “Lovely to watch #thegoodlife. it brings back memories of when I was a kid. RIP Penelope Keith.”

A third wrote: “Genuinely had something in my eye as soon as the theme tune came on #TheGoodLife #DamePenelopeKeith Thank you BBC2.”

Someone else said: “I’m indulging in some pre-dinner #TheGoodLife on #BBCTwo in honour of #PenelopeKeith RIP.”

Paying their respects, one person said: “I am shocked and now, heartbroken. … Absolutely love this lady. I’ve watched #TheGoodLife so many times, over the years and it just becomes even more funny each time I watch it – seeing/hearing something that I’ve missed previously… I think another “binge-watch” of “The Good Life” is now due. In honour of the beloved #DamePenelopeKeith.”

Someone else wrote: “Pleasing to see BBC 2 scheduling an episode of The Good Life at 7 this evening, by way of tribute to the wonderfully talented Penelope Keith. Hopefully there will be more in the coming weeks. A Penelope Keith night on BBC 4?”

The statement from Dame Penelope’s family read: “We are deeply saddened to announce that Dame Penelope Keith died peacefully whilst living with cancer at her home in Surrey where she had lived for more than 50 years.

“The family is grateful for the care and support she received throughout her treatments, and ask that their privacy be respected at this time.”

The Good Life is available to watch on BBC iPlayer.

WASHINGTON — Holiday gatherings and major life events have come with an empty seat. Certain dates on the calendar meant time at a cemetery, standing before granite stones.

They are a relatively small group of people, scattered across different states, but they share a common bond that stretches decades: Each had a family member die violently in the struggle for voting and civil rights, victims on a long and difficult path marked by blood that ended when the country seemed to mature into the nation of its creed.

But 61 years later, and as the country approaches its 250th anniversary this weekend, those sacrifices are in question. In a series of decisions over the last dozen years, including one in April, the Supreme Court has essentially dismantled the law that their family members died to see enacted, the Voting Rights Act of 1965.

“My mother’s blood is on that bill. We were always proud of that, and now it’s gone,” said Anthony Liuzzo, whose mother, Viola Liuzzo, died on an Alabama highway between Selma and Montgomery while driving marchers in 1965.

Critics of the law contend that times have changed, an argument Chief Justice John G. Roberts Jr. made in a 2013 decision that was the first major step in rolling back the law.

Survivors of lost loved ones disagree, pointing to the speed with which Republican-led state legislatures eliminated majority-Black congressional districts after the court’s April ruling, which severely weakened a section of the law that had protected voting rights for minority communities. They feel anger and sadness that a milestone political victory decades ago has been reversed, but they are committed to keep fighting.

A church bombing and a chunk of concrete

Lisa McNair was born Sept. 19, 1964. Her older sister, Denise, died in the Sept 15, 1963, bombing of the 16th Street Baptist Church in Birmingham, Ala. The church had been a central organizing point for civil rights protest.

The explosion killed Denise McNair, 11, and 14-year-olds Addie Mae Collins, Carole Robertson and Cynthia Morris Wesley. Nearly two dozen others were injured. Three Ku Klux Klansmen were convicted years later.

One of Lisa McNair’s early memories of her sister was of the box that their grandmother kept from the funeral home. It included Denise McNair’s shoes, a purse and a rock-sized piece of concrete that had been embedded in her skull.

The crime brought the civil rights struggle onto the national stage and outraged President Kennedy.

The times were tumultuous, McNair said, but it seemed the nation was heading in the right direction. Most of her life, “I’ve seen advances” on television, in commercials, with interracial marriages, civil rights and voting rights, “a plethora of rights that we got over the greater part of my lifetime.” But that has changed, she said.

McNair, 61, said she is “physically sick” about the Supreme Court decision and subsequent actions by lower courts and legislatures.

“I am constantly working to pray my way through it, so I can get up and go to work in the morning and do what I need to do. But I just want to ask every white person I see, ‘What more do you want?;” she said. “‘Why do you hate us so?’”

They left for Freedom Summer and never came home

Michael Schwerner, known as Mickey, came from a family in which human rights activism and challenging social norms were expected. He was in Mississippi in 1964 as part of Freedom Summer when he, Andrew Goodman and James Chaney vanished one day in June while investigating a bombing at a Black church.

Their bodies were found weeks later, buried in an earthen dam in a rural area of Neshoba County. Schwerner, 24, and Goodman, 20, were white; Chaney, 21, was Black.

Stephen Schwerner, who died earlier this year and was a social activist in his own right, told the Associated Press in a 2023 interview that as soon as the family heard his younger brother and the other men were missing, they knew they were dead.

“Our family was very out front in the media that the only reason there was international attention was two of the young men were white,” said Stephen’s daughter, Cassie Schwerner. “Had all three of those young men been Black, they would have ended up absent from our history and our narrative.”

The executive director of Morningside Center for Teaching Social Responsibility, Cassie Schwerner, said her family has followed voting rights through their ups and downs. That includes the 2013 Supreme Court decision that allowed states and counties with a history of discriminatory voting rules to make changes without prior approval from the Department of Justice.

The court’s April decision, she said, brought rage “and a good deal of sadness — not for me and my family, but for this country.” There is, she said, work to be done on multiple fronts.

Rights paid for in blood turned out to be fragile

Tamara Orange said among her many thoughts when she heard of the Supreme Court decision in this year’s Voting Rights Act case, there was relief — “relief that my dad is not here to see that; that Jimmie Lee Jackson is not here to see it; that Viola Liuzzo is not here to see it,” she said. “I’m relieved for them because to me, it’s as though the sacrifices that were made were done in vain.”

Her father, James Orange, was working with the Southern Christian Leadership Conference to organize voting rights protests in Marion and Perry County, Ala., in 1965. When juveniles joined the effort, he was arrested for contributing to the delinquency of minors. Concern arose that Orange was going to be taken out of the jail and lynched.

A protest to intervene ended with Jackson, a 26-year-old Black church deacon, being shot in the stomach by a state trooper while Jackson tried to shield his mother and grandfather.

His death was the catalyst for what became the Selma-to-Montgomery march and “Bloody Sunday.”

Orange stayed in the movement all his life and died in 2008, Tamara Orange said. But even after the Voting Rights Act passed, “he would say, ‘Be careful or we’re going to lose it.’”

‘We got bad news for you’

Anthony Liuzzo had just turned 10 when his mother, 39, left their middle-class neighborhood in Michigan and headed for Selma. She had cried as she watched scenes from “Bloody Sunday” on television.

Viola Liuzzo participated in a portion of the second march and then helped drive other civil rights protesters around the Black Belt region of the state. On March 25, 1965, she was driving one protester between Selma and Montgomery when a vehicle pulled alongside and fired into the car.

The phone call came around midnight. Anthony Liuzzo remembers the caller asking his dad, “Is your wife Viola? We got bad news for you. She’s been shot.” When his father asked whether she was all right, the caller said, “No, she’s dead,” and then hung up.

An informant for the FBI quickly identified members of the Ku Klux Klan as her killers. The three men charged would escape conviction on state charges but be convicted in federal court.

Anthony Liuzzo and his siblings lived with the lost birthdays and other missed milestones. His comfort was that the voting rights she had died for had become a reality. But the April ruling by the Supreme Court and the subsequent rush by Republican-led legislatures in several Southern states to eliminate congressional districts represented by Black lawmakers left him angry and distraught.

Even so, he said he is still proud his mother had the courage to go to Selma “when others sat in their pretty little houses.”

One morning, the Klan returned

The inscription at the bottom of Vernon Dahmer Sr.’s tombstone reads simply: “If you don’t vote, you don’t count.”

It is a message that embodies his life’s work and the story behind his death.

Even after President Johnson signed the Voting Rights Act, not every state was eager to implement the new law. In Mississippi, it came with a poll tax. The amount was $2, but in a world where a farmworker’s wages might only be $5 a day, that was substantial, said Dahmer’s son, Dennis Dahmer Sr.

The elder Dahmer, 57 at the time of his death, was a successful businessman who owned a store, sawmill and farm near Hattiesburg. He also was a civil rights leader and NAACP president in Ford County. He offered to pay the $2 for Black residents who wanted to register to vote.

He had already been under scrutiny by the local Ku Klux Klan. There was harassment and there were threatening phone calls. The windows were shot out of his store, but no one challenged him directly because his sons were always present and armed.

That seemed to tail off after Johnson signed the law.

“The Klan quit calling,” Dennis Dahmer said. “They quit shooting out the windows, so my family thought that all of this was behind us.”

That changed in the early hours of Jan. 10, 1966, when two carloads of Klansmen showed up. They firebombed the house and adjacent grocery store and began shooting at the house. The elder Dahmer shot back, using his ample arsenal to fight off the attack.

His wife and the three children who were home survived, but he suffered severe injuries from inhaling the smoke and fumes from the flames. He died later that day.

Dennis Dahmer was 12 as he stood next to his dad’s hospital bed. He wondered why some people wanted his father dead just for trying to help Black people vote.

A former Imperial Wizard of the Ku Klux Klan, Sam Bowers, was convicted in 1998 for the attack and sentenced to life in prison.

Like the families of other survivors, Dennis Dahmer’s family has witnessed the methodical dismantling of the Voting Rights Act.

“Finally, they basically turned it into a relic,” he said.

His plan now is activism, to speak out and promote the need for a massive voter turnout. He also wants to remind people of the price that certain families paid for everyone to have the right to vote and be represented by someone of their choosing.

“We’re living in a time when America has a lot of the same characteristics of the 1960s that I grew up in,” he said. “People say, ‘Are we going back?’ Hell, we’re already there.”

Fields writes for the Associated Press.

Even before the first naira changes hands or the first customer calls, Musa Lekki reaches for his phone. It is 5:32 a.m. on a Tuesday, and like many smartphone users, he begins his day with a glance at his phone screen. The 42-year-old provisions trader lives in Yola, northeastern Nigeria, and runs a small wholesale business supplying neighbouring shops and customers with rice, beverages, and household goods. 

As he unlocks his phone, there is already work waiting for him. A supplier has sent a voice note. A customer wants to confirm a payment. Another customer has placed an order. Before he has even left his bed, Musa is responding to messages and preparing for the business day ahead.

What appears to be a routine start to the morning is also a series of digital interactions. Within minutes of waking up, Musa has engaged with systems that recognise his phone number, device information, account credentials, and network location.

Each interaction leaves a data trail. A phone call generates telecommunications records. A bank transfer creates transaction logs. A utility payment produces another digital entry. Individually, these fragments may seem insignificant. Together, they form an increasingly detailed portrait of everyday life, which is increasingly mediated and supported by Digital Public Infrastructure (DPI) rails, a set of foundational digital systems that form the backbone of modern societies, enabling secure and seamless interactions between people, businesses, and governments. 

Musa does not think about any of this. Most mobile phone and internet users do not. 

“During the day, I use my phone for transfers, calls, and ordering goods, and by night I check my account balance before closing for the day,” he said.

As Nigeria expands its digital identity and payment systems, everyday activities such as making calls, sending money, paying bills, and accessing services are becoming increasingly dependent on interconnected digital infrastructure. Musa’s daily routine shows how Digital Public Infrastructure is reshaping daily life, expanding access to services while also raising questions about privacy, transparency and accountability.

What Musa sees is a phone. What he does not see is an invisible infrastructure that increasingly determines who can communicate, who can make payments, who can access services, and who can participate fully in modern economic life. By the time he goes to bed, several institutions will have processed fragments of his personal information. Many of those interactions will happen without him ever knowing.

This is how millions of Nigerian residents increasingly navigate life as data points within systems they rarely see.

The identity that travels ahead

At 6:45 a.m., Musa calls a supplier in Kano. The conversation lasts less than three minutes. It is a routine business call, yet that call depends on a national identity system. In 2020, the Nigerian Communications Commission (NCC) directed all mobile network operators to link users’ Subscriber Identification Module (SIM) cards to their National Identification Number (NINs) and to bar those who did not comply. Musa’s line was among those affected. 

“There was a time my SIM was restricted because of an issue with my NIN linkage,” he recalled. “I couldn’t make calls for some days and also lost customers, until I sorted it out.”

The experience taught him something many Nigerians have learned: The ability to make a phone call increasingly depends on proving who you are. Identity is one of the key layers of a DPI. In Nigeria, the NIN is the foundational identity document, managed by the National Identity Management Commission (NIMC).

As of December 2025, the NIMC reported more than 127 million NIN enrolments nationwide, making it one of Africa’s largest digital identity databases, while over 172.67 million SIM cards had been linked to NINs. 

Nunaya David, a senior enrolment officer at the NIMC, Yola, said, “NIN is increasingly required for banking, telecommunications, social programmes, and several government services.” Identity is no longer simply something Nigerians carry in a wallet; it is increasingly verified continuously in the background.

The money moves, the data moves too

Shortly after 7 a.m., Musa pays ₦45,000 to a supplier. The transfer takes less than a minute. Money leaves one account and appears in another. With a few taps, Musa has interacted with another stack of the DPI: the payment layer. Behind that transaction, the payment infrastructure operated by banks, fintechs, and the Nigeria Interbank Settlement System (NIBSS) performs multiple checks.

“Once a transfer is initiated, the request passes through several systems before reaching the recipient,” Hakeem Abdulkareem, a tech specialist with NIBSS, explained. “These systems communicate with one another to confirm and complete the transaction.”

Identity verification, fraud screening, account authentication and transaction routing all happen in the background. Most of it occurs within seconds. The customer sees only a debit alert while the infrastructure works in the background. 

According to the Central Bank of Nigeria, electronic payment channels now account for the majority of retail payment activity, with internet transfers, mobile payments and point-of-sale transactions becoming increasingly dominant. Data from NIBSS show that Nigeria recorded ₦284.99 trillion in electronic payment transactions in the first quarter of 2025, representing a 17.7 per cent year-on-year increase compared with ₦234.49 trillion recorded in the same period in 2024. This reflects how deeply electronic payments have become embedded in everyday economic activity. Each transfer generates records that move across banks, payment switches, and settlement systems, creating the digital trail that allows modern commerce to function.

A market built on digital trust

For Musa, these systems are largely invisible. What he sees are payment alerts arriving on his phone and customers walking through his door. By mid-morning, those customers have started to arrive. One of them is Aisha Bello, a 21-year-old student at Modibbo Adama University, preparing for a new academic session. Like Musa, she relies on digital systems she rarely thinks about.

Her school registration requires identity verification. Her bank account relies on Bank Verification Number (BVN). Her mobile line and BVN are all linked to her NIN. 

As she pays Musa electronically, two very different lives intersect through the same digital infrastructure. Neither sees the systems operating behind the scenes, yet both depend on them.

The same is true for Grace Ezra, a nurse at Modibbo Adama University Teaching Hospital in Yola. Like Musa and Aisha, she increasingly relies on digital systems to manage her salary payments, telecommunications services, tax records, and pension contributions.

Frank Akabueze, a digital identity expert, describes Nigeria’s journey as a gradual shift from fragmented systems to interconnected ones. “We have moved from having several disconnected identity systems toward greater integration.”

Increasingly, a person’s ability to study, work, save, communicate, and transact begins with a digital identity record. This speaks to the third layer of DPI, interoperability, the ability of different digital systems to speak to each other securely. 

The invisible checks 

Around noon, Musa buys airtime through a mobile app. Moments later, he pays an electricity bill. The transactions feel routine, but each leaves a digital footprint. Each creates records, generates data and triggers some form of verification.

Airtime purchases, utility payments, transfers and merchant payments may appear unrelated, but increasingly they travel through interconnected platforms that rely on identity verification, payment infrastructure and data exchange mechanisms working together in the background. The power of DPI lies in the ability of these systems to communicate with one another. This interoperability allows a verified identity, a payment instruction and a service request to move across different platforms within seconds.

Esther Kolo, a staff member at Opay, a leading digital financial services provider in Nigeria, explains that many customers only notice verification during registration. “Most people notice identity verification during account registration, but checks can also happen when account details are updated or when unusual transactions are detected. In many cases, these checks happen in the background.”

The reality is that verification does not end after account creation. It becomes part of daily life. The systems simply become invisible. Every interaction leaves behind another record. Those records may sit in various databases, often connected in ways users never see. By midday, Musa has become far more than a trader buying and selling goods. He is part of a growing collection of records moving across this ecosystem. 

When identity becomes the gatekeeper 

Later in the afternoon, Musa receives a call from his younger brother. He is trying to resolve a problem involving identity records required to open a bank account. 

Across Nigeria, mismatched records, incorrect dates of birth, missing details, and verification failures have become common sources of frustration. As systems become more interconnected, a discrepancy in one database can sometimes affect access to services that depend on another.

Such complaints have become familiar in identity management centres and online forums, where citizens report problems ranging from incorrect personal details and outdated biometric records to difficulties validating identity information across different systems. According to Nunaya of NIMC, “The person may experience delays in accessing certain services until the issue is resolved.”

As more services become interconnected, identity functions as a gatekeeper. When systems work properly, access becomes easier. When records fail, opportunities can disappear, sometimes without warning. The same infrastructure designed to enable inclusion can also create new barriers. 

For instance, in August 2025, Catherine Bello, a beneficiary of a humanitarian cash assistance programme in Adamawa, was unable to receive support because a minor discrepancy between her name on the beneficiary list and her National Identification Number (NIN) record caused the verification process to fail. Similarly, others have recounted losing access to mobile services and facing banking restrictions because their NIN, BVN, and SIM records did not match across government databases.

Who is watching the data trail?

As evening approaches, conversations throughout the day prompt Musa to reflect on something he rarely considers: who actually has access to all this information? His answer is uncertain. “I know my bank, telecom company, and government agencies have my details. Honestly, I don’t really know who else can access the information or how it is being used.”

Digital rights advocates say Musa’s uncertainty underpins the challenges facing millions of Nigerians. As more services become digital and become interconnected through digital identity and payment systems, citizens often have little visibility into how their information is shared, stored, or processed across institutions.

Gbenga Sesan, Executive Director of Paradigm Initiative, a digital rights advocacy organisation, said the challenge is not only the collection of personal information but the lack of transparency surrounding its use. 

“Many people provide information to access essential services without fully understanding where that data goes, who can access it, or how long it may be retained,” he said, adding that public trust in digital systems depends not only on efficiency and convenience but also on clear safeguards, transparency and accountability.

As identity systems, payment systems, and service delivery platforms become more interconnected, questions about transparency become increasingly important. 

According to Vincent Olatunji, the Nigeria Data Protection Commission (NDPC), for identity management to be effective, there is a need for harmonised policies, secure technologies and inclusive systems. “The more systems are connected, the greater the impact if information is mishandled or exposed,” he noted. 

Reports have shown how vulnerable these systems can be when safeguards fail. In 2025, the Foundation for Investigative Journalism uncovered websites that offered access to Nigerians’ sensitive personal information, including NINs, BVNs, photographs, and other identity records, for small fees. One platform reportedly sold access to personal records for ₦70-₦150, while another provided unauthorised identity-related services despite not being licensed by the NIMC. 

These incidents illustrate the risks that emerge when large volumes of personal data are concentrated within interconnected digital systems without proper safeguards. 

Olatunji of NDPC noted that the Nigeria Data Protection Act has established rules governing how personal information should be collected, processed, stored, and shared. Citizens have rights and organisations have obligations, but awareness is limited. “Organisations are generally expected to explain why information is being collected and how it will be used,” he explained. 

Under the Act, citizens have several rights over their personal information. These include the right to know why their data is being collected, the right to request access to personal information held about them, the right to seek correction of inaccurate records, the right to withdraw consent for certain forms of data processing, and the right to seek redress when their information is misused. The law also requires organisations to explain how personal data will be used and gives individuals the right to lodge complaints with the NDPC when they believe their rights have been violated.

In practical terms, these rights mean that citizens are not merely sources of data, but they are entitled to ask questions about how their information is used, request access to records held about them, and challenge organisations that fail to protect their information. Yet awareness of these protections remains low among ordinary users.

Musa says he has heard of data protection laws but does not know what rights they give him. Like many Nigerians, he uses digital services every day without fully understanding who controls the information he generates.

Before bedtime, by 9:45 p.m., Musa checks his account balance for the final time. The day is over. He has made phone calls, received payments, sent transfers, paid utility bills, purchased airtime and verified identities. Each action took only seconds. Each left a record somewhere. Some records sit inside telecom databases. Others exist in banking systems, payment switches, identity registries and government platforms. Together they form a digital version of Musa’s day, one that is often more detailed than he realises.

“Many people do not realise how often their identity is being checked behind the scenes,” Frank noted. 

This report is produced under the DPI Africa Journalism Fellowship Programme of the Media Foundation for West Africa and Co-Develop.

The UK is home to some of the most beautiful seaside towns, but one stands out for a key reason

The UK has been so hot this week that I made three trips to the beach in seven days, despite not living particularly close to one. Still, an hour or so’s drive is a small price to pay when there’s a brilliant day or evening by the sea waiting for you.

I’m aware the pleasant weather won’t stick around, which explains my eagerness to spend as much time outdoors as I can. Of my several seaside trips, one location really caught my attention for one particular reason — the food.

Troon, roughly 45 minutes from my home city of Glasgow, proved the ideal spot to spend a warm evening as the heatwave drew to a close.

It’s been over six months since I last went to Troon, which was on a bitterly cold and snowy January day. This week’s outing couldn’t have been more different. After finishing work one evening, we hopped in the car and made our way down to the coastal town overlooking the Firth of Clyde, with one clear goal in mind.

Despite Scotland’s heatwave coming to a sudden halt during the day with a torrential thunderstorm, the sun managed to emerge once more as we strolled along the shoreline. Likely due to the earlier weather, it was pleasantly peaceful, with just a handful of people wandering about on the sand.

While it was lovely to be able to walk on the beach without the bitter wind battering us like last time, the stroll was fairly brief, as it was time to head up to the harbour to get some food. We finally managed to make it to The Wee Hurrie for dinner.

The Scottish fishing fleet had been tied up back in January so it hadn’t been open, which although was our own fault for not checking, still put a major dampener on the day — especially given the icy cold weather.

This award-winning chippy is renowned for its fresh seafood and its prime spot right on the harbour. And it was 100% worth the hype, being one of the best meals I’ve ever had the pleasure of eating.

The scampi was incredibly fresh, coated in a delicate batter that left me feeling neither bloated nor uncomfortable afterwards — a genuine rarity for a chip shop. Choosing just one dish was actually really hard, given how varied and imaginative the menu is.

Where else would you find fritto misto, noodles and lobster all on the same menu?

It arrived alongside a gorgeous tartare sauce and a wedge of lemon, generously seasoned with salt and vinegar. Despite being light and crispy, it was wonderfully filling and satisfying, and the portion sizes were spot on.

At £14.30, it was worth every single penny, and I genuinely can’t stop thinking about it.

It’s a takeaway so you can’t sit in, but loads of people were queuing up to order before taking it home in their cars. We ate standing up outside the shack, which I think says everything about how tasty it was.

The food may have been our main reason for heading to Troon that evening, but with the weather still pleasantly warm after we’d finished eating, a stroll down the high street seemed the perfect way to round off the night.

By this point it was around 7pm, so many of the smaller independent shops and cafes had shut up for the day, but the pubs appeared reasonably busy, with people popping in and out of takeaways, restaurants, shops or simply strolling about as we were.

If I hadn’t been driving, I would have definitely nipped into Lido on the high street for a couple of drinks, but sadly it wasn’t to be on this occasion.

It was a shorter visit than previously, but far more enjoyable thanks to the delicious food and the beautiful evening sunshine. Whether you’re in the area with a few hours to spare, or travelling from further away, Troon is a wonderful place to explore.

For 45 years, in his novels, short stories and essays, James Ellroy has been creating the definitive under-history of his Los Angeles hometown, mapping in his work the subterranean currents of power, corruption, sex and lies that have shaped the polity of the city. Ellroy’s latest is another compelling entry in his ongoing project.

“Red Sheet” is a multilayered American epic that blurs fact and fiction, a deep dive into anti-Communist paranoia, from the corridors of City Hall to the dank precincts of the LAPD. The novel also marks the return of Fred Otash, a real-life Hollywood fixer whom the author has featured in previous novels, including his last book, “The Enchanters.” I recently talked to Ellroy about Otash, L.A. in the ‘60s and L.A. today.

✍️ Author Chat

Freddie Otash has been something of a twisted muse for you. In “Red Sheet,” Otash is an LAPD detective trying to smoke out Communist sleeper cells in Kennedy-era L.A. He was, in fact, a real person, a notorious Hollywood fixer. How did you first become aware of him?

I had seen a documentary about his specious role in the cover-up caper surrounding Marilyn Monroe’s death. I’d been hearing about him for years, and then I created the Jack Vincennes character who worked for scandal magazines in my book “L.A. Confidential,” played by the scurrilous Kevin Spacey in the vastly overrated movie of the same name.

Did you ever meet him?

Years ago I met a producer named James B. Harris, who produced all the old Stanley Kubrick movies and had optioned one of my early books called “Blood on the Moon.” I asked him if he knew Freddie Otash, and he said everyone in Hollywood knew Freddie Otash. I was planning my novel “American Tabloid” and so I arranged to meet him. He was unpleasant and charmless and way past his prime. I spent some time with him in Miami, where he was living in a place called the Jockey Club, and I had to listen to him talk about his many conquests of the world’s most beautiful and desirable women. I didn’t believe a word of it.

But he did have useful stories, I’m assuming.

Otash I used for the character Pete Bondurant in “American Tabloid.” We entered into a deal whereby I would pay him 10% of what Knopf was paying me in exchange for him keeping his mouth shut. He has become that valuable literary artifact: the great detective.

“Red Sheet: A Novel” by James Ellroy

(Knopf)

Your book deals with a piece of legislation called the Rumford Act that would tear down the city’s racist racial housing covenants in 1963, but the act in ’62 had enemies in high places, namely Mayor Sam Yorty and his power base. You were 14 in L.A. in 1962. Did you feel this racial tension?

I remember vividly how the world was changing. I knew there was de facto segregation in housing. I remember Nixon’s pathetic campaign for governor in 1962. But I remember racial barriers breaking down, particularly in school. Just talking with Black kids in school, because why wouldn’t you? And I had been this dumb, bigoted kid.

What’s interesting about the characters in your book is that their ideological alliances are quite fluid, depending on the circumstances. Communists are married to John Birchers, who may be, in fact, red-diaper babies, and so on.

People are endlessly complex. Going back to Freddie Otash again. He knew Tom Bradley in the ‘40s, when Bradley was a cop. And Freddie becomes a bag man for the civil rights movement, and the Rumford Act in particular. He’s about the most unlikely guy you would expect to support civil rights. I wanted to show [how] complex human beings and their beliefs can be, and this book is a primer on that.

You are so closely associated with Los Angeles, and you lived here for most of your life. Why do you live in Denver now?

Helen Knode is my all-time life partner, who is also my second ex-wife. Ten years ago, we decided to get back together, but she was living in Colorado. She came up with the idea of me getting a loft in her building, and we would have the keys to each other’s places, and that’s why I did it. I like it in Denver, though it’s quite hot at the moment.

Do you miss L.A? What are you feeling about the city now?

I was just there on my book tour. I feel like it’s a complete dump. It’s just totally run-down. When I got off the airplane, I noticed a smog layer, so smog is back. I saw many young, odd-looking, overly adorned young people. I don’t know. … It’s a kid’s town now, to a certain extent.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Country music performer Kenny Chesney sat down with Holly Gleason, the co-author of his new memoir, to talk about writing the book.

(Jill Trunnell)

Greg Sarris is the chairman of the Federated Indians of Graton Rancheria in Sonoma County. He’s also an acclaimed novelist whose his first book in 28 years, “The Last Human Bear,” is loosely based on the life and teachings of Pomo spiritual leader Mabel McKay, a constant lodestar for Sarris. “An American Indian woman is as richly complicated as anybody else. I wanted to show this rich and complicated character who’s negotiated a history that she’s showing you,” Sarris tells Maddie Connors.

In “Daughters of the Sun and Moon,” author Lisa See excavates the events surrounding the Chinese Massacre of 1871. In doing so, she also digs into her own Chinese heritage in L.A. “My great-grandfather’s fourth wife was 16 when he brought her here, and she was never let out,” See tells Emily St. Martin. “My mom used to say these women would all get together, and she used to describe it as birds twittering together, because they actually had this opportunity to be with each other, but on really very rare occasions.”

Fear not, literary Cassandras: Authors can still generate online heat, thanks to BookTok and other social media outlets. So much so that more books are being adapted into streaming content than ever before. “With the advent of BookTok, it allows you to have so much social chatter around these authors,” producer Bryan Unkeless tells Gary Goldstein. “They’re becoming new rock stars, in a way.”

Finally, Kenny Chesney sat down with Holly Gleason to discuss their collaboration on “Heart Life Music,” Chesney’s new memoir. “I didn’t know if there was a story there,” the country megastar tells Gleason. “Over time you wore me down, to make me pause and … reflect.”

📖 Bookstore Faves

The interior of Counterpoint Records & Books.

(David Jones)

In a city that has so often seen its old-school retail businesses turned into nail salons and real estate offices, Counterpoint Records & Books remains an outlier. Originally established in 1979 by John and Susan Polifronio, the store on Franklin Avenue has remained, even as many of its nearby store-mates have shuttered, offering a well-curated selection of secondhand books and records from every conceivable genre. I chatted with David Jones, who is one of the owners of the Franklin Avenue store, about Counterpoint’s enduring success.

Counterpoint is an Eastside institution, but businesses along your strip on Franklin have gone under while you have survived. What is the secret to your longevity?

Firstly, we are lucky enough to own the building we do business in, which has given us a lot of freedom to be able to pursue doing business our way. That didn’t happen until we were in business for almost 20 years, but now in our 47th year we feel lucky to be able to continue to provide a physical, in-person shopping experience. I think our success is tied to this. People are looking for an experience away from their screens, and I think we provide that without being anachronistic or nostalgic by keeping up with and stocking contemporary music, digital media and all types of books.

Is your clientele mostly local? I’m guessing it’s a multigenerational clientele, given the store’s long history.

We definitely have a younger demographic these days, but we have a very intergenerational staff, and I think that attracts an all ages clientele. We meet folks daily from all over the world as a destination that people return to and tell their friends about. I think word-of-mouth is our greatest form of outreach. People say we feel special to them, as if they’ve stumbled onto a secret by shopping here. It’s something I love and am very proud of.

How have books maintained their staying power despite the countless distractions of daily life?

I think of it as one of life’s greatest luxuries. To be honest, I never thought too much about the staying power of books until the pandemic. During that time, people would come in and thank us for being open and a place they could come to escape what was happening. It was a real turning point for me. I started to think more about the importance of what we do and how much of an effect it has on people. I never took what we do for granted, but it gave me a sense of urgency that I didn’t quite have before.

Counterpoint Records & Books is at 5911 Franklin Ave. in Hollywood.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

THIS may sound strange, but as we finished our first circuit around Yorkshire Wildlife Park, I was pleased we hadn’t seen all the animals who call this place home.

We hadn’t spotted them all because the amazing beasts — including giraffes, rhinos, zebras, lions, tigers, polar bears and wallabies — live in huge, free-roaming enclosures.

They have areas to play, relax, eat and sleep instead of being squashed in small cages just so humans can instantly peer at them.

The humans on my trip included my son Alex and his friends Jack and Finn, together with their mum Laura. They travelled from London and we went from Manchester, meeting at the park in Auckley, Doncaster.

Even though our visit to the 175- acre adventure park was in February we were lucky with the weather and by the end of our day we were lucky with the animals we saw, too.

It takes about 90 minutes to walk the 3km circular route, and once you’ve done it the first time, you can do it all over again.

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As we passed by the 30 life-size dinosaur models and then watched sea lions, the boys used the park’s app to decide which animals they wanted to see.

For Alex, it was the six polar bears. They live in ten acres, with grassy plains, rocky beaches, water pools and shaded caves, but thankfully seemed to love being near visitors.

One gigantic bear dipped in the pool and had a kickabout with a football right in front of us.

Finn chose the red pandas. Visitors can book 30-minute experiences with several of the animals, including the red panda, and feed them.

But Finn was thrilled just to see the “real-life Kung Fu Panda”.
Jack’s wish was to see the tigers.

As we headed there, we first saw monkeys swinging through trees and playing, which the boys loved. Then we stopped at Leopard Heights, which has a large elevated viewing platform plus ground-level glass wall to see the big cats play on their huge wooden climbing frames.

But as big cats go, they weren’t as majestic as the lions who sprawled out on rocks, seemingly oblivious to everyone gazing at their splendour.

Throughout the park, signs explain each animal’s back story. There is a big focus on environmental projects and it was lovely to read how the lions had been rescued from dangerous situations, including from Ukraine.

The Amur tigers were a highlight. One wandered right past us making moaning noises, which apparently indicated contentment. But as one man behind me rightly commented: “You wouldn’t want to hear that on a dark night, would you?”

There are several picnic spots here, too. One is sensibly inside and next time I visit I’ll shove a sandwich or two in a backpack.

But we weren’t that organised so had lunch at the Safari Cafe. Two very decent coffees for the adults, plus sandwiches and quiche with salad, and three portions of nuggets, chips, beans and apple juices for the kids came to £45 which, for a tourist spot, didn’t seem like bad value.

There are also many play areas and the boys loved the Jungle lookout, climbing through wooden tree forts, over obstacle courses and down slides as us adults had a catch-up.

Finally we returned to the Yorkshire Hive — a hub at the centre of the park with a beauty salon, shops, cafes and fitness centre plus hotel the Hex, where we were staying.

After dumping our bags, we went to Evolution Experience Restaurant where there were more roaring dinosaurs, illuminated dragons, smoke effects, crayons and colouring sheets for the boys.

They each had home-made pizza, apple juice and organic fruit lollies for £10 while we had ribs for £12 with a decent sauvignon blanc and prosecco.

The hotel ticked a lot of boxes — bunk beds and giant bean bags for the boys to sit on and watch Netflix plus black-out blinds, Temple Spa bathroom products, fresh coffee sachets and the cutest packets of mini Jammie Dodgers I’ve ever seen.

But without doubt the best bit of that room was two oblong windows in the walls — one at kids’ level and one at adult height — giving a bird’s eye view over the park.

We watched the wolves prowling and then eating their breakfast. It was the highlight of our trip.

After we had our own breakfast — a full English buffet at the Wilds Cafe Bistro — the boys had a final run around at the large soft play centre, while we relaxed and chatted.

That’s what is so perfect about this place — they catered for the needs of the animals, the kids and us. And for me, that was the real winner.

How well do you remember your U.S. history class from high school or college? Did some of the key moments in America’s 250 years of existence involve Larry David playing a founding father? OK, maybe not, but it’s fun to imagine what that would be like. And that’s precisely what David and Jeff Schaffer have done with their new HBO series “Life, Larry and the Pursuit of Unhappiness.”

The series, premiering Friday, is a timely look at some of America’s big moments in history with a comedic twist that will remind viewers of “Curb Your Enthusiasm,” partly because it also features some cast members from the show. The series arrives on the cusp of the 250th anniversary of America’s founding, and offers an alternative history that’s still steeped in facts. Schaffer stopped by Guest Spot to talk about creating the series with David and what it was like to work with former President Obama.

Speaking of laughter, if you like yours with a whole lot of drama, FX dropped the final season of “The Bear” Thursday on Hulu. The series, which premiered in 2022 and made phrases like “cousin,” “yes, chef,” and “every second counts” memorable, ties up a lot of strings for its crew of chefs. Jeremy Allen White and Ayo Edebiri, the actors who were at the center of the show for five seasons, spoke to us about “The Bear” coming to a close, where their characters end up and what it feels like to leave them behind (be forewarned, the interview has lots of spoilers).

The finale feels like a fitting end to one of the best shows of the past decade (so far) — but we won’t say much more. Enjoy each episode like a multi-course meal at a fine-dining restaurant. You’ll want to savor each bite before it’s over.

Also in this week’s Screen Gab, our writers recommend an animated series with monsters and mystery and a documentary about one of America’s greatest bands. I’ll get my flags, fireworks and BBQ supplies ready in the meantime. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Bobby and Romy in Disney+’s “The Doomies.”

(Disney)

“The Doomies” (Disney+)

If you’re missing “Widow’s Bay,” and like cartoons, here’s another tale of monsters loose in a coastal tourist town, with the difference that the town, called “Ouimpre,” is decidedly on the Atlantic coast of northwest France. (It’s a Franglais pun.) There are half-timbered buildings; what used to be a Camembert factory after it was a beret factory; a cafe that serves crepes, not pancakes; and boulangeries, not bakeries. (It’s a French production; Disney encouraged animator Andrés Fernandez to go local.) As in “Stranger Things,” which no one may be missing by now, the protagonists are kids — Romy, who is excitable and impulsive, and Bobby, who is neither — abetted by a formidable female teenage demon slayer and a lighthouse keeper with occult knowledge. The series is energetic, funny and character-driven — even the monsters. The action is well-staged and intense, the color palette moody and evocative, and the design not at all reminiscent of a hundred other cartoons, which makes the show refreshing as well as fun. — Robert Lloyd

Earth, Wind & Fire in HBO’s “Earth, Wind & Fire (To Be Celestial vs. That’s The Weight Of The World)”

(Jeffrey Mayer / HBO)

“Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World)” (HBO Max)

Even if you think you don’t know Earth, Wind & Fire, chances are they’ve soundtracked a wedding, bar mitzvah, awkward office party or some other memorable celebration in your life. Somewhere between “Shining Star,” “Let’s Groove” and “September,” the band mastered the art of coaxing three or four generations of a family onto the same dance floor. Questlove’s new documentary explores how that happened. If his recent Sly Stone film examined how genius can curdle into self-destruction, this one asks a different question: How did Earth, Wind & Fire founder Maurice White build something that lasted? Abandoned by his mother as a child, White set out to create not just a band but a family, assembling a sprawling ensemble around a musical and spiritual vision. Questlove is too thoughtful a filmmaker to sand down the rough edges. White emerges as both inspiring and flawed: a gifted bandleader, spiritual seeker and demanding perfectionist whose drive sometimes came at a personal cost. Drawing on interviews with everyone from former bandmates to Stevie Wonder, Lionel Richie and Barack and Michelle Obama, Questlove builds a portrait of White that never shies away from his contradictions. In the process, he shows how White’s fascination with spirituality, Egyptology and the cosmic unknown shaped both the band’s music and mythology. You may occasionally wish the film lingered longer on the performances themselves (for a reminder of what made Earth, Wind & Fire such a formidable live act, start with the 1975 concert album “Gratitude”). But by the end, you have a deeper appreciation for the band’s unlikely feat: turning something so eccentric into something so universal. — Josh Rottenberg

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Larry David in “Life, Larry and the Pursuit of Unhappiness.”

(John Johnson / HBO)

Is Larry David about to be the most entertaining (and crankiest) history teacher America has ever had?

To celebrate the arrival of the nation’s semiquincentennial, the comedian teamed up with Barack and Michelle Obama’s Higher Ground Productions to revisit the truth of our history with some comedic chaos. The result is “Life, Larry and the Pursuit of Unhappiness,” a seven-episode sketch comedy series from the mind of David and his longtime “Curb Your Enthusiasm” collaborator Jeff Schaffer that pairs reenactments of seminal milestones from America’s past with David’s misanthropic humor — or, as its creators dub it, “‘Curb’ in costume.” Subtitled “An Almost History of America,” it features a star-studded roster of actors dressing up in period clothes alongside David, including “Curb’s” Jeff Garlin, J.B. Smoove and Susie Essman, as well as Bill Hader, Kathryn Hahn, Jon Hamm and Jerry Seinfeld. The first episode premieres Friday at 9 p.m. ET/PT on HBO and will stream on HBO Max.

Over a video call, Schaffer discussed the show’s genesis, former President Obama’s improv skills and the British TV series that has him entertained. — Yvonne Villarreal

Tell me about getting into business with the Obamas. Their production company approached Larry. How did it evolve into this?

Larry and President Obama know each other a little bit. They really enjoy each other’s company, or at least Larry enjoys needling Obama, and Obama really enjoys needling Larry. The moment that we all met together to have our first meeting, the first thing Obama does — I’ve never met the president [prior]— he starts just ragging on Larry’s golf game, and how he wears so much sunscreen on the golf course. And Larry just goes to President Obama, “Oh, I’m sorry, my dad’s not from Kenya.” And that’s how it started. They have a great rapport and they wanted to do something special for the 250th [anniversary]. Larry says no to everything — his best friend can be having a premiere of a movie, and Larry will go, “Where is it in Hollywood?” But Larry’s not going, that’s too far. When this came around, Larry was like, “Huh, that’s actually pretty interesting.” He responded right away to the historical nature of it because, as he would say, he’s an American history buff.

The genesis for Larry and I is that we had done a tiny test run of this with that FTX ad for the Super Bowl a few years back. I don’t know, whatever happened to those people — I’m sure they’re fine — but he remembered how much fun he had being in costume. And honestly, I think he forgot how much he hated being in a wig. It’s like childbirth, enough time had passed.

Given the sort of tenor of the times, why does this type of comedic look at America’s history feel like the appropriate way to mark this anniversary?

It’s the 250th and I get that celebrating the country right now may feel like throwing a birthday party for your friend who’s in rehab — he’s all f— up — but we still love him, right? There’s a way to look at the country’s history, warts and all, the two steps forward and the one step back. And I think one of the best ways to do that is through comedy.

Going back to President Obama — what are the negotiations to get him to appear in it? Or was that on the table from the beginning?

Once I saw the two of them interact together, that became my primary mission. We’ll write the sketches, and we’ll do the documentary stuff, we’ll make it all historical and fun, whatever, but we have to get you two on screen together. It was also sort of the promise of the show, too. When I originally talked to Amy Gravitt at HBO about it, I remember I said, “What if I could give you a show that brought together two people half of America loves?”

What was it like directing them in a scene together? He gives the opening remarks at the start of the show.

He is a truly inspiring, amazing human being who also happens to have great comedic timing. He and Larry get into a groove immediately, which is very fun, and it was honestly one of the coolest things I’ve ever done in my life, directing them. The president said, “I guess I like being annoyed by Larry. Once we get together, I start sounding like him.” It’s like Larry’s this black hole of negativity that sucked Obama in for these brief periods of time; it was just fun.

Is he good at improv then on the spot like that?

Yes, he is. He’s got some really funny stuff in the sketch they’re in together that is all him — 100% the president.

Do you have a favorite moment from this first episode — it features the Declaration of Independence, segregation and Rosa Parks.

There’s different things in each of them. The thing that I’m most excited about is when you don’t know what the next one’s going to be, and then when the narration for the little documentary section starts, and it starts talking about Rosa Parks, I can just see [viewers] going, “Oh no …” That’s a great “Curb” feeling. It’s a comedy horror film — “Oh no, don’t do that, oh no.” Then you get sucked in.

We tried really hard to make sure that production-wise, there’s historical accuracy, so it really felt like you were in this moment. Then Larry gets dropped in, and all hell breaks loose. Same thing with World War I — I got to shoot a whole bunch of World War I fighting — and there’s Larry pretending to be dead. One of the things that attracted us to it in the very beginning was the idea of the juxtaposition between these big dramatic moments and then Larry. History is writ large, and Larry writes so small and that dynamic is fun for us.

One of the great things about a show like this — or what’s come before, like “Drunk History” — are the lessons that can be learned. Is there something you learned while filming this series or a takeaway you had in looking back at our history?

There are things I did not know. One of the things that was also enjoyable is being able to talk about modern things in a historical context, even with that phone. We don’t write dialog — we write some, but it’s basically like doing “Curb.” Larry knew that people were going to ask some questions about the phone, but I just was peppering these people with questions about all of the modern stuff, and just watching Larry get angrier and angrier at these people. At a certain point, the membrane of actor, of character to real human being was breached. He was so mad at them, but that’s what making the show is. Actually, at the end of the our shoot, President Obama said to me, “I see how it works. Larry makes the world uncomfortable, and you make sure the world makes Larry uncomfortable.” That’s literally how we make the show.

Would this format work for current historical events? How do you think, 250 years from now, a reboot of this show would tackle something like telling the story of the UFC fight on the White House lawn?

That’s the problem — we’ve entered an era of America parodying itself. It’s insane. One of my good friends, Dave Mandel, used to do a “Veep” and he’s like, “What do you do now?” I think what we tried to do, and you’ll see as you go further into episodes, we try to address a lot of things that are happening right now through a historical lens. So we might be back in colonial times, and we might be back in the ‘50s, but we’re actually talking about something that’s happening right now.

Before I let you go, what is the TV show or movie out right now that you’re telling everyone to watch?

I just started watching “Steve and Alice” [Hulu, Disney+]. It’s so well done; it’s so dark and funny and really engaging.

What’s the comfort show or movie you return to again and again?

I can pretty much put on any “Lord of the Rings” [HBO Max] movie anywhere and not be able to get my butt off the seat.

ICYMI

Must-read stories you might have missed

Our Yorkshire Farm star Amanda Owen has been a firm favourite on our screens for years

Amanda Owen rose to prominence on the much-loved series Our Yorkshire Farm.

The Channel 5 programme launched in 2018, chronicling Amanda’s experiences at Ravenseat Farm alongside her ex-husband Clive and their nine children. The show has since become one of the broadcaster’s most-watched offerings.

Channel 4 subsequently commissioned a ten-part series titled Our Farm Next Door, which documents the family as they renovate a 200-year-old farmhouse in the Yorkshire Dales.

The third series broadcast earlier this year, with a further instalment on the way.

As Our Farm Next Door prepares to air a repeat episode this evening (Friday, June 26), here’s everything you need to know about Amanda Owen’s life beyond the cameras, reports Yorkshire Live.

Heartbreaking losses

Amanda and her family have endured several painful losses at the farm. In 2022, the Owens bid farewell to their cherished dog, Kate, who died peacefully in her sleep.

In a series of tweets at the time, Amanda said she was “mourning” her “faithful workmate, companion, colleague and friend,” adding: “I miss her”.

Additionally, an emotional Amanda supported her children through the loss of their treasured horse, Little Joe. “Eventually, all life will come to an end, right? Anything can die; life is a truly fragile thing,” she noted.

In a previous episode of Our Farm Next Door, Amanda also battled to contain her emotions after discovering that their family dog, Chalky, had passed away.

When reflecting on the moment she learned the news, the mother of nine said: “It was really clear and obvious that Chalky was fading away. When the children came running out of the house saying that Chalky had passed away, they were absolutely bereft, and they knew it was coming, and I knew it was coming.”

Health struggles

The Yorkshire Shepherdess has spoken candidly about her struggle with an eating disorder that left her fearing for her life.

Amanda previously told Daily Mail: “I just shut down. Physical and mental health are intertwined and anxiety, depression, paranoia, agoraphobia and an eating disorder were all smooshed into one.”

She added: “I remember sitting in the sheep pens in the dark, just hiding. It’s the price you pay for living your life in the open, for being observed. It’s like having a post mortem before you’re dead.”

The television star revealed that she was repeatedly in and out of hospital during what she described as a “critical time”, with her former partner, Clive, even worrying that Amanda might not make it through to the following morning.

Amanda has since reassured her followers with the welcome news that she is “out of the woods”.

More recently, Amanda found herself back at hospital after her son, Miles, suffered a medical emergency on the farm due to his type one diabetes.

“It’s been a hard few days but we’re all here to tell the tale. I’m super proud of you @milesowen86,” the star wrote on Instagram, prompting an outpouring of support from her devoted fans.

Our Farm Next Door: Amanda, Clive and Kids is available to stream on Channel 4

As La Cruz continues to break down barriers for the LGBTQ+ community in reggaeton, the rising Venezuelan star enjoys living out his gay fantasies in his music videos. Take the sultry video for his 2023 breakthrough single, “Quítate La Ropa,” which sees shirtless men perreando (twerking) before him in a locker room.

But at the same time, La Cruz has come to understand that his platform as a gay reggaeton artist coincides at a time when conservatism is sweeping the globe — and queer rights are receding.

“It fills me with happiness to represent a community that has been denigrated, treated badly and pushed into a corner for many years,” a bedheaded La Cruz says over Zoom from his New York City hotel room. (He had just performed at a Pride event the night before.)

“It’s a fact that [LGBTQ] rights are becoming progressive, but they’re rolled back even faster than they advance,” he adds. “This is very painful and concerning. This is happening in every country in different ways. During these difficult times, I’m going to keep putting my heart into my music more than ever.”

La Cruz is the stage name of Alfonso La Cruz. The native of La Guaira, a coastal city in Venezuela, pursued a music career after relocating to Spain in 2015. Following a brief stint on the singing competition “Operación Triunfo” three years later, La Cruz was closeted and found his momentum stifled. In 2022, he took the brave step of singing about his affection and lust for other men in his debut album, “Hawaira.”

Venezuelan reggaeton singer La Cruz released his new EP, “El Nene, Vol. 2,” on June 11.

(Maria Camila Pinzon)

Backed by the beats of reggaeton, a genre that had historically excluded the LGBTQ+ community, La Cruz found both his groove and his tribe with hits like “Te Conocí Bailando” and “Quítate La Ropa.” Early supporters included Colombian superstar Karol G, as well as Mexican American R&B singer Omar Apollo.

Alongside Puerto Rican provocateurs like Young Miko and Villano Antillano, La Cruz has continued to queer the heteronormative urbano space. He has also pushed his sound to broader horizons in his new EP, “El Nene, Vol. 2,” which includes “Sírveme,” a Brazilian funk banger with drag pop star Gloria Groove — and “Te Perdí,” a touching tribute to the victims and survivors of the 2016 Pulse nightclub shooting in Orlando, Fla.

La Cruz’s EP dropped on June 11, the day before the 10th anniversary of that tragedy, which largely impacted the queer Latino community. In an interview with The Times, he opened up about being a gay reggaetonero and “Te Perdi,” his tribute to the 49 people lost at Pulse.

It’s been three years since you first went viral with “Quítate La Ropa.” What have you learned about yourself during that time?
There are songs that have brought me a lot of love and I’m thankful to my fans that consider that song to be a classic. It’s brought me a lot of blessings. At this moment, I feel like I have the best opportunities in my life. However, I feel like the industry is a bit uncomfortable with an artist that’s openly gay and wants to be a part of this. That hasn’t stopped me at all. It’s the gasoline in my motor. It’s what pushes me to keep working hard. My fans are what’s building my career and I won’t let them down. I’m sticking with this until the end.

You connected with Karol G early in your career. Did she give you any advice when you met her?
I want to say publicly that I would love to open for her concerts on her Viajando Por El Mundo Tropitour. I’m very close to her. I love her so much. She has always treated me with so much love. I hope that something between me and her can happen sometime. I know everything happens in due time. I told her that I love the way she is and how she connects with her fans. When I see her singing and performing, I feel like she’s a sister to me. A big piece of advice that she gave me and that I’ll always carry with me is to never lose the humility and closeness that I have with my fans. The key to success is humility. I never want to be out of reach. I want people to see me and say, “I want to achieve my dreams like he has.”

How did your collaboration “Sírveme” with Gloria Groove come together?
I love her so much! I’ve always been a big fan of hers. I’ve gotten close to a lot of artists in Brazil and Gloria has been one of them. We didn’t think twice about making this song. Gloria was coincidentally traveling to the amusement parks in Orlando. I told her: “Baby, let’s go! I’m ready for you in Miami.” She told me: “Baby, I’m going to Miami!” We met one afternoon to create this song. She paused her vacation to go to the studio with me. It was very beautiful. I love my Brazilian fans.

With “El Nene, Vol. 2,” why was it important for you to also shed a light on the 10th anniversary of the Pulse nightclub shooting?
In 2016, when I recently arrived in Spain and my brother recently arrived in the U.S., we had a call with our family. My brother said, “There was a shooting close to where I live and it was in a gay club.” My family has supported me since I first told them about my sexuality. I thought that that could’ve happened to me.

I’m following up on this tragedy because it shaped my life. As the years go on, information about this attack has faded away. Each day people are talking less about it. It’s a tragedy that’s super important to remember, like 9/11 and the [2017] Las Vegas shooting, because it’s one of the worst attacks in U.S. history. Why are we not talking about it anymore? We have to keep talking about things so that they don’t happen again.

What inspiration did you pull from the Pulse tragedy for your song “Te Perdí”?
On this path, I’ve gotten to know the stories of people that survived that shooting. For example, there was a boy with his mother that lost her life and he survived. There’s a lot of stories of love from that club that have [since] come out. When I went to the studio, I was inspired by loss, or a love that’s gone away, with respect and love for the community that supports me. It is my gift, to be a voice for this situation that should never be repeated. There are people that don’t know about this tragedy and I want to let the world know that this happened. I hope that the victims’ families and the people that survived are living lives of peace and calm.

I rose from my living room couch before Mexico’s World Cup match against Czechia when the Telemundo announcer stated it was time for the Mexican national anthem.

The public address system at Azteca Stadium in Mexico City played a short string intro. My back straightened. I pressed my right hand against my chest horizontally in the traditional gesture that accompanies the tune. And then I recited the opening lyrics to a song I’ve heard all my life but that I only began committing to memory this month:

Mexicanos al grito de guerra/El acero aprestad y bridón/Y retiemble en sus centros la tierra/Al sonoro rugir del cañon

Those florid 19th century words — “Mexicans, at the cry of war/Ready the steel and the bridle/and may the Earth tremble to its core/at the cannon’s resounding roar” — make “The Star-Spangled Banner” seem as anti-war as “Give Peace a Chance.” My kumbaya heart nevertheless jumped as the anthem continued.

Goosebumps blossomed on my skin as Mexico’s head coach Javier Aguirre, he of a stern face and gray haircut worthy of a drill sergeant, beamed while singing. My eyes watered as the camera panned over his arm-in-arm players as they shouted the line, “Think, o beloved homeland! That heaven/gave you a soldier in each son.”

Millions of Mexican Americans like myself have stumbled through the himno nacional during this World Cup, whereas in previous years, we might have just hummed some bars or stayed silent. It’s a boisterous way to connect with one half of our hyphenated lives and get in the right mindset to root for El Tri, but otherwise something we don’t really have to know all the way through given we’re in the U.S.

Yet seeing stadiums and bars packed with Latinos wearing the jerseys of their ancestral homes and warbling their national anthems during this World Cup has been a jolt of inspiration I wasn’t expecting. Those few minutes before each match have become a reminder of what we’re up against at this moment in the Western Hemisphere, as President Trump thirsts to smash Latin America into submission while persecuting too many of us stateside.

In downtown Santa Ana earlier this week, Alicia Rojas quietly recited Colombia’s national anthem word for word before a game against the Democratic Republic of the Congo, even though she was just one of a handful of Colombian fans at Chapter One: The Modern Bistro.

“It reconnects me to my roots, my family and the memories of home,” said Rojas, who was born in Bogotá and moved to the U.S. at age 12. The artist has helped to organize against federal immigration raids in Orange County and volunteers for local political races. “Those few minutes remind me that beyond our differences, we share a history, a culture and a love for the land that made us who we are.”

Latinos are a famously divided bunch, to the point that we don’t even like a catch-all label for “us.” A 2024 Pew Research Center survey found that 52% of Latinos prefer to refer to themselves by their family’s country of origin, while only 30% identify as Hispanic or Latino and just 17% use plain ol’ American.

One thing that can unite us all — and all lovers of liberty, for that matter — is those Latin American national anthems. Many were written in the aftermath of wars for independence. Most are bright, rousing listens, even if you don’t understand Spanish, because their chords reflect the Romantic classical music popular at the time of their composition in the 19th century. All call for their countrymen to fight against tyranny.

Fans cheer after Lionel Messi scores a goal against Algeria during a World Cup watch party at Mercado Buenos Aires on Tuesday, June 16 in Van Nuys.

(Ronaldo Bolaños/Los Angeles Times)

Cue up this soundtrack for your summer:

Paraguay’s national anthem starts by stating that the people of the Americas were “oppressed for three centuries” until they rebelled. Ecuador’s recalls how its founding fathers “cried out a holy voice to the heavens/that noble voice of a unbreakable pledge/to defeat that [Spanish] monster of blood.” Colombia’s similarly doesn’t shy away from how violent its fight for independence was, but takes solace that “in furrows of pain/good now germinates.”

On and on, these songs stir the soul. Argentina: “Hear the sound of broken chains/See noble equality enthroned.” Uruguay: “Tyrants: Tremble!/We shall cry out ‘Liberty’ in battle!” — a boast backed by flutes and violins that make it sound like a Rossini overture. I especially like how Panama’s national anthem concludes by urging “shovel and pick/to work without delay” — a reminder that the job of creating a better society is never done.

Conservatives have, unsurprisingly, long railed at the very idea of singing the national anthems of other countries on American soil. But that just reinforces Samuel Johnson’s adage that patriotism is the last refuge of a scoundrel.

There’s nothing wrong with taking inspiration from the clarion calls of other countries. “O Canada” is as soaring as “God Save the King,” while revolutionaries across the world have chanted “La Marseillaise” for centuries. And yes: I sing “The Star-Spangled Banner” with all my heart as well — and I definitely know the words to it.

But the message of the U.S. national anthem isn’t enough for Latinos right now. Hailing survival against an invading force is important, but it’s a mindset too many of us have resigned ourselves to under Trump.

The theme of Latin America’s national anthems is the demand that we stand against despotism and push for a better world through sacrifice and valor. They should be a wake-up call, especially for Latinos, to lead the electoral charge against Trump this November. We helped put him in the Oval Office in 2024, and we have the power to take Congress away from his GOP vassals.

Alas, all those paeans to freedom have played out better in song than in real life. Latin America is swinging rightward again, electing presidents who promise to channel the strongmen of yore and rule the region through might, not right.

On the same night that Rojas was cheering on Colombia, she was bemoaning that her homeland had elected Abelardo de la Espriella, a millionaire criminal defense lawyer and political novice who earned Trump’s endorsement for his “tremendous accomplishments in life” — which include claiming that female voters would pick him because of the supposed size of his genitals.

We must channel the hopes and dreams of Simón Bolívar, Emiliano, Zapata, José Martí and other heroes of the Americas who fought for freedom for their countrymen, sought to cast off the long reach of colonialism and imperialism and urged pan-American alliances over forever wars.

Nothing like the World Cup’s unofficial pre-game soundtrack to reinforce this eternal, universal message.

Mexico dominated Czechia 3-0 and finished first in its group. When El Tri plays again on Tuesday in the first round of the knockout stage, I will stand at a packed Chapter One with other fans and so many more across the U.S. and sing again Mexico’s national anthem.

I will hope to have it all memorized by then instead of reading off my smartphone — the thing is hard! The Spanish is archaic, the intonations are complicated, and the words tumble over themselves like a hard charge toward the goal posts.

But I will do it — a little victory in the long battle for freedom that never ends.

Three Brazilians with a combined age of 316 have been recognised as the world’s longest-living trio of sisters. Researchers are studying their DNA to better understand the genetic factors behind healthy aging and exceptional genetic longevity.

Bethlehem, occupied West Bank – In the narrow alleyways of the Dheisheh refugee camp, three children debate which of their encounters with the Israeli military is worth telling, and who gets to tell it.

Yanal, 14, wins the opening round on language skills alone. He speaks three languages: Arabic, English and Spanish, and insists on telling his story in English.

“Life in the camp is complex,” he says, because, as he explains, there is nowhere to run away to when the army comes.

Yanal keeps returning to one memory: a football match, soldiers entering the field, and there being no way out.

Mustafa Abu Aliyah, 13, counters with a raid that he ran into as he was on his way to his grandfather’s house. The Israeli army fired live rounds and tear gas, he says. “We were in the middle of the fire.”

He can’t remember his first encounter with soldiers, “but I definitely saw them when I was little, because they are always coming here”.

His sister Diyar, 12, was mid-piano lesson the last time the army came through.

“Whenever the army comes, there will be tear gas,” she says. “People will be beaten. There’s usually someone injured or killed.”

She compares it to life elsewhere. “I see children in other countries, in other worlds, living in safety, but we can’t even leave our front door without suffering.”

The raids happen so often that the children often can’t remember the dates of specific incidents. But what they do remember is the fear they experienced and the aggression displayed by the Israeli soldiers.

In the first nine months of 2025 alone, Israeli forces carried out nearly 7,500 raids across the occupied West Bank, or about 27 a day, and a 37 percent increase compared with the same period in 2024.

‘Essence of childhood destroyed’

The children in the Dheisheh refugee camp reflect a wider pattern of childhood experiences under Israeli occupation, set out in a report the UN’s Independent International Commission of Inquiry on the Occupied Palestinian Territory released on Tuesday.

It examines Israel’s treatment of Palestinian children in Gaza and the occupied West Bank since October 2023.

Titled, “The essence of childhood has been destroyed”, it found that Israeli forces have killed at least 20,179 Palestinian children and wounded more than 44,000 across the occupied territory, most of them in Gaza – where it said that the deliberate targeting of children constituted part of the genocide in the Palestinian territory.

The report also documents a pattern of killings, mass arrests, torture, sexual violence and attacks on schools and hospitals.

In the West Bank, it records a sharp rise in settler violence against children and killings by Israeli forces, among them a two-year-old girl shot dead in January 2025. Children, the report notes, are held in Israeli detention, with no lawyer and no word sent to their parents, a separation it says can amount to enforced disappearance. Schools, too, are targets: 85 across the West Bank are under demolition or stop-work orders, and others have been closed or attacked by soldiers and settlers.

Beyond the casualty count

The UN commission argues that Israel has created conditions in which Palestinians live in a constant state of “diffused, ambient terror, that does not require constant bombing to remain effective”.

“We are talking about repeated shocks, about continuous events that never end,” says Lemis Farraj, a psychologist and the project coordinator at Shorouq in Dheisheh, emphasising that a child’s physical and mental health cannot be separated from each other.

The report calls this continuous traumatic stress, distinct from Post-Traumatic Stress Disorder (PTSD), because there is no single event to recover from. The danger does not just come from experiencing one raid, but from the fear that comes with waiting for the expected raids that will likely come in the future.

Diyar explains that when the army enters her neighbourhood, she has to stay home and wait, no matter what her plans were. “Our life stops,” she says.

Her brother, Mustafa, says that the repetition has worn the fear flat.

“When I see the army, I [am] used to it and I stop being afraid.”

Farraj sees the same in the young children she treats: a startle at an ordinary sound, certainty that a raid has begun, and regression – skills already learned suddenly lost again.

Five-year-old Khour Hammad, who lives a few alleys away from the older children, has experienced the same raids.

She explains that both of her parents are in prison. Israeli forces arrested her father in July 2023 and her mother last March, according to the family.

Khour remembers the night the army came for her mother. Half-asleep, she heard a man’s voice and thought her father had finally come home. She climbed out of bed expecting him. Instead, she found soldiers inside the house.

The soldiers tried to question Khour. She says that she “felt like I was going to throw up”.

Handed an old family photo, she brightens at once, pointing out her mother, Islam Amarna, and her father, Osama Hammad, and rattling off memories in bursts.

Generational trauma

While Palestinian children in Gaza and the West Bank face different lived experiences, the UN finds the same cause behind the harm: a military occupation described as a “long-term mechanism of domination, subjugation and oppression”.

Farraj adds that children are affected not only by their own experiences of trauma, but also by what is passed down from parents and grandparents.

“The first generation of the Nakba lived in shock and passed it on to their children,” she says, referring to the ethnic cleansing of at least 750,000 Palestinians following the formation of the state of Israel in 1948.

The report similarly notes that Palestinian refugees, now in their fifth generation, have internalised a sense of “dispossession from the Nakba” alongside present-day experiences of occupation.

In the West Bank, roughly one in four Palestinians are refugees; in Gaza, it is about 70 percent.

Israeli violence and forcible displacement have been carried through generations of Palestinians, compounding as the cycle repeats. Farraj says trauma recovery depends on stability: family support, schooling, safe spaces and a predictable routine, all of which remain precarious under Israel’s occupation.

For Khour, that stability begins with her parents.

“I want the whole world to listen and see my picture,” Khour says, “and get my mom and dad out of prison.”

Author Harlan Coben, known for gripping thrillers that place ordinary people in extraordinary circumstances, has provided enough source material for book-to-screen adaptations on Netflix that it merits its own landing page. The latest screen translation of his work begins with a parent’s worst nightmare.

“I Will Find You” follows an imprisoned father wrongfully convicted of brutally murdering his son. When he learns his child may still be alive, it sets off a harrowing, twist-filled search for the truth. User discretion is advised as to whether that makes it the perfect binge for the Father’s Day weekend. “I Will Find You” is also the first series in Coben’s partnership with the streamer to take place in the U.S. — other projects have been set in countries across Europe, including the U.K., France and Spain, in four different languages. Coben and showrunner Robert Hull stopped by Guest Spot to discuss the eight-episode series.

Also in this week’s Screen Gab, our streaming recommendations include a series of brief historical videos that honor the 250th anniversary of the Declaration of Independence and a Netflix documentary that revisits Michael Jackson’s 2005 child molestation trial.

And if you’re a fan of “House of the Dragon,” which returns Sunday with its third season, check out coverage from Tracy Brown, our resident expert on all matters related to Targaryen family drama. She assembled a guide to refresh your memory on the events of the second season and spoke with Emma D’Arcy ahead of the new season.

Keep on reading (and watching). See you next week.

—Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

“250 to 250”/@twofiftytotwofifty (YouTube)

In the spirit of the old CBS “Bicentennial Minutes” (the spirit of the old CBS for that matter) — which ran in commercial breaks from July 4, 1974, until Dec. 31, 1976, and featured celebrities telling a story from “200 years ago today” — historian and podcaster Heather Cox Richardson has mounted a series of similarly timed semiquincentennial videos, as “250 to 250.” Narrated by an array of scholars, politicians, activists, public servants and others, its overarching theme is that “the story of America has been one of the constant efforts of Americans — from all races, ethnicities, genders, and abilities — to make real the belief that we are all created equal and have a right to have a say in our democracy.” (It can’t be said too often.) Segments (there are 25 as of this writing) include the Constitutional Convention, the Triangle Shirtwaist Fire, the Erie Canal, the AIDS Memorial Quilt, Man o’ War, Eisenhower’s “D-day: In Case of Failure” statement, Rita Moreno, the Everglades, the Social Security Act, Fannie Lou Hamer, An Wang (the inventor of magnetic core memory), Thomas Paine’s “Common Sense” and L.A. Times reporter Rubén Salazar, killed by a sheriff’s rubber bullet during the 1970 National Chicano Moratorium March Against the Vietnam War. — Robert Lloyd

A still from “Michael Jackson: The Verdict” of Mark Geragos, who briefly served as the singer’s defense attorney.

(Netflix)

“Michael Jackson: The Verdict” (Netflix)

Moviegoers embraced “Michael,” propelling Antoine Fuqua’s film about the global superstar to become the highest-grossing music biography in movie history. But reviewers and others have continued to criticize the absence of references to the child molestation allegations that continually shadowed the singer. Netflix’s documentary “Michael Jackson: The Verdict,” however, brought it into focus. Directed by Nick Green, it chronicles the 2005 child molestation trial that threatened to derail Jackson’s career after a young boy accused him of abuse. The three-part series uses archival footage and new interviews with attorneys involved in the case, journalists, fans and members of Jackson’s inner circle to explore the trial, which sparked international attention, and its aftermath. Although the project is unlikely to affect Jackson’s popularity much, some of the revelations uncovered during the investigation are disturbing. — Greg Braxton

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Sam Worthington as David Burroughs, a wrongfully imprisoned father, in “I Will Find You.”

(Christos Kalohoridis/Netflix)

What would you do to save your child? “I Will Find You” follows David Burroughs (Sam Worthington), a father serving a life sentence for the gruesome killing his toddler son. But when his ex-sister-in-law Rachel Mills (Britt Lower), an out-of-work reporter, presents him with evidence that suggests his young son, Matthew, is still alive, it sets in motion a daring prison escape and a high-stakes rescue mission in search of the truth. And that’s just one of the parent-child dynamics that fuel the series to illustrate, as Coben told us, how most parents are “trying to do what we think is best for our child — and that could lead to greatness or it could lead to disaster.” Over a recent video call, Coben and showrunner Robert Hull discussed the chilling premise and the book moment that was most challenging to bring to screen. Beware of spoilers ahead. — Y.V.

Harlan, Netflix wanted to make this before you even finished the book. How did that shape or intensify your normal writing process? Is it hard to turn off the noise of the pressure that carries?

Coben: Actually, no. In terms of writing the novel, I’ve learned that the worst novels are the ones that you write thinking you’re going to make a great TV series or a movie. If you write a novel going, “Ooh, I can’t wait for it [to be adapted],” it’s going to stink — trust me. My caveat to that is, though, I don’t care about making changes. I don’t have fidelity to the novel. Once I knew it was going to be already a TV series, I made sure I cut off any thoughts of that, and just told Robby, “Your job is going to be to worry about how to adapt whatever I do.” The way it started was Robby and I had met, and we wanted to do something together at Netflix. We wanted to maybe do the first one that was going to be filmed [and take place in the U.S.], and weren’t sure which to do. I pitched the idea to Robby as I started writing the book, and Robby’s eyes lit up. We went to Netflix and [executives] were like which book is this? I’m “Well, it’s not a book yet; it’s a third of a book right now. I’ll finish it while Robby’s working on the pilot and the adaptation.

Robby, what pulled you into this story?

Hull: As a father myself, I would easily give my life to save my children. What would be terrifying is to not have that opportunity. And Harlan created this character [in that situation] — he says very early on in the book, “A father’s job is to protect my son, and I didn’t do that.” He’s [David] living in this spiritual prison, regardless. And in this day and age, to have someone come and say, “Hey, there might be a way for you to correct the past, to change the most horrible thing that’s ever happened to you” — I thought that was just an incredible way to start a story.

Britt Lower as Rachel Mills and Sam Worthington as David Burroughs in “I Will Find You.”

(Netflix)

Was there a moment from the book, or a twist, that was most challenging to bring to screen, or one that you were most excited about?

Hull: It’s actually the same moment: When Rachel comes [to the prison] and shows David the photograph very early on. That is a scene that has to establish who Rachel is, establish her back story, her pathos, her connection to David, introduce the mystery, David’s reaction to the mystery. There is so much going on. You have to check off in three pages and in the hands of possibly actors other than Sam and Britt, that could be a real train wreck of a scene. Sam’s reaction when he first sees that photo is just unmistakably incredible, and you don’t have to write it. He tells you in three or four seconds the last five years of what he’s been through, and the possibility that maybe things can be different just by staring at a photo, which is incredible.

Coben: That’s one of my favorite scenes too. Also the ending, making sure that landed and gave the emotional punch that I wanted and I felt when I was writing the book. I think we delivered it less-was-more there. It closes it and it leaves it, so you can interpret it your own way, and you can bring it. We were thinking, it’d be really interesting to ask people a year from now, “Where do you think those characters are?”

Let’s talk about that part of the ending — so spoiler warning starts here. The book goes more deeply into how Rachel and David’s relationship evolves into a romance by the end. The series is more vague — we see them hold hands. Robby, how did you want that moment to play?

Hull: If you want them to be together and you’re hoping they are, then I’ve done my job right. I actually don’t want to answer that question because the relationship is so complex and so dynamic. Early on, we didn’t want the traditional two-hander, where [it’s] “Oh, now they’re going to fall in love, now they’re going to come together.” No, Rachel’s her own character with her own story and pathos, and at the end, what they’ve been through together, if that moment is the promise of something more, great; if it’s the promise of “look what we’ve been through,” that’s OK too. That’s what I was going for, at least.

Do you think there’s more of David’s story to tell? Would you want a Season 2 to explore what happens next?

Coblen: I’m probably the only writer who will say this: No, not really. I don’t do Season 2’s unless I think they’ll be better than Season 1’s. Let me do new stories instead. This is a complete story to me. Now, if somebody says to me, “I’ve come up with an idea that might work, that could be as compelling as being [in prison] for five years for the murder of your child for the same character? I never say never. I’ve learned that in my career. But we’ll see. I don’t think so.

Robby’s like, “but I want a Season 2.”

Hull: The moment he said, “If you can come up with a story better than the one we told …,” I was like, “Oh, guess we’re not doing a Season 2.”

Before I let you go, what have you watched recently that you’re recommending to everyone?

Coben: “Your Friends & Neighbors” [Apple TV] by my pal Jonathan Tropper and my other pal Jon Hamm. I’m proud of the job they’ve done on that show and I’m happy for them.

Hull: “Run Away,” ’Safe,” “Fool Me Once.” [Each are a Coben adaptation for Netflix]. Those are the three I’m digging right now.

ICYMI

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IT’S been five years since Britney Spears was released from her conservatorship following the Free Britney campaign, but insiders say the pop superstar is more lost than ever. 

In recent months alone Britney, 44, has been arrested for a DUI and faced accusations of bizarre behaviour including making barking sounds at a restaurant and brandishing a knife. 

It’s a far cry from the 16-year-old who took over the world in 1998 with her debut single Baby One More Time, which catapulted her to instant worldwide fame. 

She should be living life on her own terms after 14 years under the heavy surveillance of her dad Jamie Spears. But The Sun understands that couldn’t be further from the truth. 

An insider said: “Some people close to Britney can’t help wondering whether she’s actually happier now than she was then.

“The sad reality is that she seems incredibly isolated. She spends most of her time at home and her world has become smaller and smaller over the years. 

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“Those around her would love to see her thriving, but instead they worry she’s become increasingly detached from everyone else.”

In 2023, Britney split from her third husband Sam Asghari – less than a year after tying the knot – and we’re told the break-up had a huge impact on the mum-of-two.

She shares Sean Preston, 20, and Jayden James, 19, with ex-husband Kevin  Federline and has struggled with a strained relationship with her sons for years. 

Our source said: “The divorce hit her hard and she hasn’t appeared to find the stability or companionship she craves and desperately needs. 

“Her relationship with her sons has also been a source of sadness over the years, and those closest to her know how much that weighs on her.

“People are worried rather than reassured, especially when they see her on social media. The videos and posts leave people concerned and scratching their heads, it looks like we’re seeing someone who is still struggling.”

Despite being one of the best-selling music artists of all time, Britney left fans gutted in 2022 when she insisted she’ll “probably never perform again”. 

She said on social media at the time: “I’m pretty traumatized for life and yes I’m p****d as f**k and no I probably won’t perform again just because I’m stubborn and I will make my point.”

And it’s the lack of ambition for performing – something she once thrived on – that has pals seriously concerned and wondering what she’ll do with her life if she doesn’t return to the stage. 

“The overwhelming feeling among those who care about her is sadness,” our insider said. “Nobody is questioning her right to live life on her own terms, but there are fears that she’s still searching for happiness and hasn’t found the peace that everyone hoped freedom would bring. 

“They look at Britney and see a woman who appears deeply lonely, increasingly disconnected and still trying to find her place in the world all these years later.”

WHILE Cornwall is one of the most popular destinations to visit in the UK – especially in the summer – there are still some spots that tourists are yet to discover.

As a Cornish local, I’ve seen it all, meaning I know just the places to avoid the crowds this summer.

Here are my top five spots to visit where you’ll spot more locals than holidaymakers.

1. Nanjizal Beach

Located on the south of Land’s End, Nanjizal Bay has been named by Sunsail as the second most secluded beach in the world.

Its rock pools and archways surround clear blue waters.

This beach truly does feel picture perfect. It’s remoteness, with no toilets, cafes or parking for miles, is what leaves room for its untouched natural beauty to shine.

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To get there, take a walk along the South West Coast path.

Make sure you check the tide times before you arrive, so you are not left with no beach in sight.

If you’ve walked this far, an extra 20 minute stroll to Sennen Cove feels worth it.

This is home to The Old Success Inn, selling great food with an even better view.

2. St Nectans Glen

Cornwall is not just expansive beaches, although social media does make it out to be. St Nectans Glen is the perfect spot for nature lover’s looking for something tranquil, serene and relaxing.

Located in a remote valley hidden behind the main road, this woodland walk is most known for its 60-feet tall waterfall.

When you reach it, it feels more like a fairytale than a typical English countryside. It is half an hour walk to get down their, so get your walking boots on.

Less than a 10 minute drive away is the village of Tintagel, home to the legendary King Arthur where you can learn a thing or two at the local shops, or even walk to Tintagel Castle and see the history for yourself.

3. Crackington Haven

One of my favourite hidden spots local to my village is Crackington Haven, just off the A39 between Boscastle and Bude.

Known for its rock pools and interesting coastal walks, the beach offers the best of both worlds: pebbled at the top with gorgeous white sands at the bottom.

If you’re a surfer, visiting Crackington is definitely one for you, considered the best surf around for locals, especially on big wave days.

Stop by The Coombe Barton Inn and enjoy some traditional pub grub or a perfect pint sat along the wall.

4. Fox Cove

Tucked behind the Roseland heritage coasts, Fox Cove is a secluded beach with access definitely on the more challenging side.

The path down to the cliff is long, but the spectacular views make it all worth your while.

It is a peak spot for swimmers and bodyboarders, but make sure you pay attention to the Cornwall Tide Times before you start your journey.

Just a short drive away, or a slightly longer coastal path hike, is the town of Padstow, amous for its Rick Stein and Paul Ainsworth restaurants.

5. The Lost Gardens of Heligan

For me, this wins bonus points for the nostalgia.

I have been going to The Lost Gardens of Heligan for years with my family, and some of my most fond memories of growing up in Cornwall took place here.

I’m not entirely sure how I would describe it simply,  but it is a combination of history, beautiful gardens, livestock and activities to keep the children entertained.

Entry is somewhat expensive, but if you are looking for a day out in Cornwall, this is a no brainer.

Welsh TV presenter Gethin Jones has opened up about his love life over the years

Gethin Jones is a much-loved Welsh TV presenter.

The 48-year-old played rugby union while studying at Manchester Metropolitan University and, upon graduating, kicked off his television career on Welsh language channel S4C, where he hosted children’s shows including Popty, Mas Draw and Uned 5.

In 2005, Gethin became the 31st presenter of the BBC’s beloved children’s programme Blue Peter. Then in 2020, he took on the role of host on the BBC’s weekday magazine show Morning Live, which is broadcast from studios in Salford.

He regularly appears on the programme alongside Helen Skelton, Michelle Ackerley, Gaby Roslin, and Janette Manrara.

That’s not all, as Gethin has also featured on Celebrity MasterChef, comedy drama Stella, and even took to the Strictly Come Dancing dance floor during season 5. What may come as a surprise to some fans is that Gethin once had a very well-known ex-fiancée, so here’s everything you need to know about the star’s romantic history, reports Wales Online.

Who is Gethin Jones’ famous ex-fiancée?

Gethin had a serious romance with Welsh opera singer Katherine Jenkins after the pair first crossed paths in 2007, while he was competing on Strictly.

The couple announced their engagement in February 2011. However, by December of that same year, both confirmed they had decided to part ways.

Reflecting on the break-up, Gethin previously opened up on Tom Bryant’s Outdoors in Mind podcast, saying: “I was engaged and then breaking up, afterwards, or even during that period, it was just awful… I definitely had a bad bout of depression during that time.” He continued: “It was horrible… a lot of what I read about myself wasn’t right.”

Gethin notably sought counselling in a bid to work through his emotions, explaining: “I saw someone, I had therapy for a couple of years and I still do my homework on that.”

Katherine has since moved on with American painter Andrew Levitas, with the pair tying the knot in 2014 and going on to have two children together.

Past romances and rumours

Three years after his separation from Katherine, Gethin enjoyed a brief romance with former TOWIE star Lucy Mecklenburgh. The pair reportedly began dating in August 2014 after crossing paths at a Give Me Sport event.

Lucy later confirmed the relationship was short-lived, saying: “We went out a few times a while ago but it was bad timing for both of us.”

Gethin also dated model Katja Zwara in 2017, and was rumoured to have been linked to First Dates waitress Cici Coleman – though neither have confirmed a relationship.

There has also been considerable speculation in recent years surrounding a potential romance between Gethin and his Morning Live co-star Helen Skelton, though both have firmly denied they are dating.

When addressing the speculation in December 2025, Helen moved to quash the rumours, saying: “We just work together, we are not together. No, no, no. We are just work friends. They printed pictures of us at work and that we’re together because we are at work together.”

Speaking candidly about his friendship with Helen last year, Gethin revealed to The Sun: “We are very supportive of each other, we like to look out for each other. I think that’s fair to say on and off camera. You sometimes could get… you might need a little pep talk every now and then. Because she’s very passionate.”

Morning Live airs weekdays on BBC One at 9.30am

WASHINGTON  — A unanimous Supreme Court ruled Thursday for gun rights and against drug laws.

In a 9-0 ruling, the justices struck down part of the longstanding federal gun control law that makes it a crime for an “unlawful user” of illegal drugs to possess a gun.

The Trump administration had urged the court to uphold the conviction of a Texas man who was investigated for alleged terrorist ties and admitted to being a regular user of marijuana.

Rejecting that claim, Justice Neil M. Gorsuch, speaking for the court, said the law was far too broad and overly harsh.

“The law automatically bans an individual from possessing a gun from the moment he becomes an unlawful user of any controlled substance until he ceases being one,” he wrote. “It doesn’t matter what controlled substance an individual uses, in what amounts he does so, or whether his drug use has ever made him a danger to himself or others.”

And it can lead to a 15-year prison term, he added.

He noted, however, the court was not ruling on “addicts” or people who were under the influence of drugs when they were arrested.

The American Civil Liberties Union welcomed the ruling.

“Today’s unanimous 9-0 decision makes it clear that the government cannot make it crime for people to own a gun, which the Supreme Court has held is a fundamental constitutional right, simply because they use marijuana,” said Cecillia Wang, legal director at the American Civil Liberties Union. “With nearly half of Americans reporting marijuana use at some point in their lives, this ruling protects the rights of millions and curbs the government’s ability to impose arbitrary and discriminatory penalties.”

Since 1968, federal law has prohibited gun possession by felons, fugitives and other persons deemed to be dangerous. Included was anyone who is “an unlawful user of or addicted to any controlled substance.”

But the 5th Circuit Court of Appeals ruled in a Texas case this restriction on guns violated the 2nd Amendment. It said “there is no historical justification for disarming a sober citizen not presently under an impairing influence.”

Appealing to the Supreme Court, the Trump administration urged the justices to uphold the law.

“Habitual illegal drug users with firearms present unique dangers to society—especially because they pose a grave risk of armed, hostile encounters with police officers while impaired,” said Solicitor Gen. D. John Sauer.

He asked the court to rule in the case of a Pakistani native who was investigated by the FBI for his suspected ties to the Islamic Revolutionary Guard Corps.

In 2020, Ali Danial Hemani and his parents “traveled to Iran to participate in a celebration of the life of Qasem Soleimani, an Iranian general and terrorist who had been killed by an American drone strike the month before,” the administration told the court last year.

The FBI obtained a warrant to search Hemani’s family home.

Agents found a Glock 9mm pistol, 60 grams of marijuana and 4.7 grams of cocaine.

Hemani said he used marijuana about every other day.

A federal grand jury in Texas charged him with possessing a firearm as an unlawful habitual user of marijuana.

Stephanie Shih, “梅國 (Still life with chamoy and Dirty T Tamarindo),” 2025/2026. Archival pigment print on wood panel, varnish, glue, acrylic, frame. 38.25×48.25×3.75.

(From the artist)

Much has been written about the experience of aimlessness in the new David Geffen Galleries at LACMA, but it is another thing to experience it firsthand. The meandering floor plan, with its rooms of various sizes and orientations alongside their resulting passageways and corners, demands that you wander, not map, your perusal of the galleries. As a result, a visitor can easily feel disoriented, or in my case, a touch deconstructed. A little depersonalized, if you will.

Fortuitously, I was there to meet with multidisciplinary artist Stephanie Shih, whose photo-based compositions have the opposite effect, grounding the viewer in their personhood and experience. Her still lifes are made both beautiful and meaningful through their intentional arrangement of specific food, florals and ephemera, touching on diasporic understandings of self, Western and European appropriations of the “exotic” and the juxtaposition of the natural with the fabricated. In other words, to view a Shih piece is to collaborate with the artist on reconstructing or, in some cases, reclaiming an understanding of place and self.

We were talking about, and in front of, Shih’s new piece, “梅國 (Still life with chamoy and Dirty T Tamarindo),” which was not only commissioned by LACMA, but created in a temporary studio Shih constructed within the gallery itself over the course of two weeks late last year. The image features two ceramic vessels, one slightly in front of the other, within a traditional still life scene. The background jar stands alone, while the piece in the foreground overflows with a rainbow of plants, flowers, fruit, chamoy candies, gummies and a single real butterfly. To get to the small but sunny corridor that houses the work, one might make a few indirect turns and cross the gallery containing Andreas Gursky’s “Ocean” series. Flanked by four wall-size photographs of vast, overhead perspectives of the deep blue Indian Ocean, it’s easy to feel small among the giant panels. Luckily, when I met Shih at LACMA, she intercepted me outside and led us confidently up the Geffen’s dramatic exterior staircase and to “The Global Appeal of Blue-and-White Ceramics” installation — no crossing of oceans necessary.

After our conversation, I stayed to wander the galleries for a few more hours. I am a completist and I wanted, no, needed to see everything. Without the prescribed navigation I was accustomed to in a museum, this became a fool’s errand. I got physically lost and a bit lost to myself. Had I already seen that statue or did it just look like another visage also rendered in marble a few galleries back? I was pretty sure I had already taken these two rights and then a left before, but what if I hadn’t and would then miss a whole other room? The 360-degree curved glass walls encasing the galleries offered many glimpses of a face that belonged to me but somehow wasn’t mine. Who was I? I felt like I would never see everything on display, but also maybe never again exist beyond the funhouse of the Geffen Galleries. In my confusion, I passed by “梅國 (Still life with chamoy and Dirty T Tamarindo)” more than once and was reminded of Shih’s ability to articulate complex reconstructions of self through her exquisite, serene compositions. It was enough to reassure me that I could find myself again, if only I slowed down and considered my context with curiosity instead of fear.

This curiosity led me to “Shaping Dutch Identity: The Mr. and Mrs. Edward Carter Collection.” It was a serendipitous encounter for two reasons: One, the visual and symbolic correlation between Shih’s painterly use of shadow in her food- and floral-centered compositions, and the still life masterpieces of the 17th century Dutch. And two, because much like her work itself, our interview included layered discussion of constructing and shaping identities. Take the new Peter Zumthor-designed building in which we found (and in my case, lost) ourselves, which builds upon the existing galleries of LACMA while redefining the museum’s identity. Or Shih’s in-situ studio, which was created for creation’s sake, then taken down with only a photo of its contents remaining — contents which were constructed by the artist, too.

There was also the progression across cultures and continents of blue-and-white ceramics, which mirrors the evolution of chamoy, a pickled fruit condiment in Mexican cuisine that, along with a blue-and-white Talavera jar, is at the center of Shih’s piece. Both the ceramic and the chamoy traditions symbolize layers of culture as shaped by globalism and localism.

At one point in our conversation, I was momentarily embarrassed when I couldn’t recall the Filipino term for dried sour plums (kiamoy), a precursor to Mexico’s chamoy. It was an aspect of my identity as a third-generation Filipina that was also irretrievable to me that day. Shih was understanding and gracious in her response: “One of the really fun parts of the work I get to do is learning a lot of these histories that get hidden from us.” Given Shih’s academic background — she holds a PhD from Stanford University in linguistics — it makes sense that she brings deep research to her practice. Her art is rich with symbolism and history. But Shih’s work is also playful and, much like her response to me, generous in the invitation it extends to viewers to bring their own identities to her pieces in order to construct meaning for themselves. I may have felt unmoored among the Geffen’s myriad corners and paths, but never when I was standing in front of Shih’s piece.

Installation view of the inaugural presentation in the David Geffen Galleries, April 2026, featuring (top) Stephanie Shih’s 梅國 (Still life with chamoy and Dirty T Tamarindo) (2025- 26) and (bottom) Jar (c. 1700-50).

(Museum Associates / LACMA)

Claire Salinda: Your composition captures flowers, chamoy and other candies and fruit sumptuously arranged in and around a ceramic jar from LACMA’s permanent collection. How did you decide on chamoy as a subject? And how is it contextualized within the new David Geffen Galleries?

Stephanie Shih: “梅國 (Still life with chamoy and Dirty T Tamarindo)” is on display in “The Global Appeal of Blue-and-White Ceramics.” The gallery presents a condensed history of blue-and-white ceramics globally in dishes, starting in the Middle East with a 9th century Iraqi piece. From the Middle East we really got the use of cobalt in designs, and that married with the introduction of porcelain from China. We also have the Iznik kilns in Turkey, which are still operating today, and influences into Southeast Asia, and so on. Later on, the influence spread farther afield into Japan and France, where they started adding even more to it. The blue-and-white tradition has really spread globally, so this gallery is a nice microcosmic story of the effects of globalism before modern globalism.

For a long time I’ve been wanting to make a piece about chamoy and was just waiting for the opportunity to do so. The story of chamoy really parallels this journey of blue-and-white ceramics, which got to Mexico because of Spanish colonialism and then was adopted by local artisans. They really made it their own in the Talavera tradition. Chamoy similarly comes from Asia through pickled plums, particularly China via the Philippines. Filipino laborers came to Mexico via colonialism, and adapted and adopted champoy with spices and chilies from Mexico to become chamoy.

The curator, Susie Ferrell, gave me a whole list of blue-and-white surveys that they were looking at. We went to storage and to the conservation labs to look at all the pieces and we ended up choosing two pieces to work with. The one in “梅國 (Still life with chamoy and Dirty T Tamarindo)” is a Mexican Talavera jar from the 1700s. It’s the first non-Asian origin institutional ceramic I’ve gotten to work with in my career, which is the reason that I gravitated toward it.

Chamoy has been used by a lot of modern day food makers and chefs with American nostalgic candies, like peach rings and gummy worms, and my personal favorite, Gushers. One of these food makers, Alana Solis, who’s based in Tucson, runs Dirty T Tamarindo, a chamoy candy business she started during the pandemic. It was from her that I learned the history of chamoy, and so I wanted to do a piece with her candies for a long time. And this is just a really perfect opportunity with the Talavera jar.

I had pitched to Susie that it might be nice to have a second ceramic in the piece, a companion that demonstrates the origins and precursors of the blue-and-white ceramics in Mexico, a Chinese piece or something. She actually picked the one pictured here, which is also from the LACMA collection. It’s a 12th century Qingbai ware prunus vase, a meiping jar. When Susie pitched it to me, I didn’t even realize how perfect it was: A prunus vase is usually what they put plum blossoms in, and meiping means beautiful plum vase. It just ended up being a really, really good pick from her.

CS: You built a studio space within the gallery to create the piece. I’m curious about the constraints and what was surprising for you.

Artist Stephanie Shih’s makeshift set in the Los Angeles County Museum of Art (LACMA) David Geffen Galleries for her two-week commission project residency; Light test detail.

(Stephanie Shih)

SS: I was here for two weeks. I had a friend build a wall, we painted it downstairs and then brought it in and had it in the gallery with the light coming in through the windows. They gave me a refrigerator to store all the food, because I wasn’t supposed to have it out in the gallery space. We built out work tables too … it’s hard to kind of imagine with all the other stuff here now.

It was in December, and so the building was in several stages of installation with the art. There were just stacks of crates and boxes, which is amazing — it was very cool to just see statues half unpacked.

And actually, seeing everything get installed affected my thinking about the frame. Originally I wasn’t going to do a framed piece, it was just going to be on a panel. But then as I saw everything else go up, there was a weightiness to the way everything was framed and thought about. A lot of the frames are gold gilded, which are incredibly beautiful and historical. I wanted something that played off of that tradition, but using a red frame made it really obvious that it’s not 100% within tradition.

CS: How does this commission fit into your practice?

SS: My work started out really thinking about the artistic references we get as people working in food and still life. So many of the references are of this very Eurocentric art historical tradition. But if you look at that tradition, many things are taken from other cultures and used to symbolize the access and wealth and value that was assigned to these objects from the perspective of European imperialists, to put it nicely. It wasn’t until very recently that people were even thinking, “Well, where are these things from? What other artistic traditions does that mean that we’ve sort of borrowed from?” And so a lot of my work thinks about responding to that, but also taking back some of that tradition to tell stories of diaspora communities today here in the U.S.

From there, I’ve really started thinking a lot about the construction of identity and how we get to the things that symbolize who we are, and how we use symbols as we move through the world. As a cognitive scientist and linguist, a lot of my research training is about symbols and about the construction of identity in that way.

CS: Do you think that this piece could have been made anywhere else?

SS: No, I don’t think so. There’s something so special about the mission with the new building, how it’s so much more fluidly built and how LACMA is trying to think curatorially outside of the silos that have been set up by traditional art history. Thinking about that really, really influenced my approach to these pieces in terms of trying to collapse in each piece the timescales of historical influences and contemporary identity, but also the locality.

There’s stuff in “梅國 (Still life with chamoy and Dirty T Tamarindo)” that’s very global and far away, but also hyper local and here in L.A. For instance, the butterfly was found by my friend just a couple miles north in WeHo while I was working at LACMA. It’s native to California.

Do you know who Rachel Ruysch is? She was one of the big Dutch still life painters and in some of her later work, she was able to access flowers and plants from the American West, which was really rare at that time. She has a piece with prickly pear cactus as well as datura in it, which is crazy. We see those plants right here, but not in England and the Netherlands, where she was working at the time. Seeing that piece was part of the influence as well. In my piece, we have candy stripe ranunculus, which I was able to find for the candy. The cactus is from my backyard. There’s marigold and chamomile for their significance in Mexican culture, and the hibiscus flower, which has a long history across the Pacific Rim, tracing a lot of the places that ended up with chamoy and sour plums. I wanted a little nod to Hawaii with the pineapple because that’s where we also get salted plum culture.

Artist Stephanie Shih poses on set.

(From the artist)

CS: As we stand and chat in front of “梅國 (Still life with chamoy and Dirty T Tamarindo),” I can’t help but notice folks stopping to take it in. How is it being here and seeing people interact with the work?

SS: Oh, really fun!

CS: Do you ever want to interrupt them to answer a question you overhear?

SS: No. I think my favorite part of watching people interact with the pieces is what they bring to it. Some people see the chamoy immediately and they recognize their experiences in it, which is really lovely to see. Like, I can see someone’s been pointing at it, there’s a nice fingerprint mark. That’s funny. Some people recognize the candy in it. Kids often ask me, “How did the gummy butterflies fly?” and that’s really fun to answer. I appreciate that everyone brings their own experiences to it, and that sort of completes the piece for me.

Coronation Street icon Sally is not the only famous person in her family

Coronation Street legend Sally Dynevor has two famous daughters who TV fans may recognise.

Sally, 63, joined the ITV soap back in 1986 playing Sally Seddon, who later became famed for marrying mechanic Kevin Webster (Michael Le Vell).

From a devastating cancer battle to her many failed romances on the street, Sally’s 40 years in Weatherfield have not been short of drama. Especially as her marriage to husband, Tim (Joe Duttine), hasn’t always been smooth sailing.

It’s fair to say Sally is a soap legend and has played a part in several big storylines, and is much-loved for her comedy appeal and status as a street busybody.

Away from the soap, actress Sally is loved up with her husband, Tim, whom she married in 1995. Tim is a successful screenwriter who has worked on the ITV soap Emmerdale, as well as on the TV series The Drowning and Desperate Measures. According to IMDb, Tim has written more than 2,000 episodes of Emmerdale between 1995 and 2016.

His last credited episode aired in January 2016 and followed Diane Sugden (Elizabeth Estensen) as she tried to sell her half of The Woolpack, while Adam Barton’s (Adam Thomas) emotional attachment to baby Johnny Woodfield became a problem.

Sally recently delighted fans after giving them a look into her private life with Tim. Taking to her Instagram, she shared several snaps from their recent trip to Iceland, where the happy couple was taking in the glorious sights.

She captioned the post: “Well, that was an adventure. What a wonderful, beautiful country Iceland is”. As expected, fans and co-stars were left gushing over the post.

Jane Danson commented: “Pretty special I really want to go again. Glad you had a fab time Sal”. Sally Ann Matthews penned: “Oh wowzers”, while Jude Riordan added: “I’m going next week!”

Sally and Tim share three children together, including daughters Phoebe, 31, and Hattie, 22, and son Sam, 29 Both of the girls have followed in their footsteps and are enjoying careers in television.

Who are Sally Dynevor’s famous daughters?

Hattie Dynevor stars on the BBC drama Waterloo Road, playing Libby Guthrie, the daughter of history teacher Neil (Neil Fitzmaurice), and has so far appeared in series 13 – 17.

She also appeared in the recently released gripping Netflix series Legends as Arabella, which also stars Steve Coogan and Tom Burke.

Hattie’s older sister, Phoebe, also launched an acting career on Waterloo Road, playing Siobhan Mailey between 2009 and 2020.

Bridgerton fans will also recognise the actress as Daphne, the wife of Simon Basset, the Duke of Hastings, played by Regé-Jean Page, between 2020 and 2022. Speaking to Collider, Phoebe opened up about a possible return to the Netflix period drama.

She said, “When the first season came out, they didn’t know what they needed to put in play. We were the ones that got away, in a certain way.

“I can only speak for myself, I would always come back if I was asked. I have not received a call. When I get that call, I will be there if I can.”

She has since starred in a long list of popular television shows, including The Musketeers, Dickensian, Snatch, and Ten Percent. Away from the small screen, Pheobe has starred in the movies The Colour Room, Inheritance, and Thrash.

Coronation Street airs weekdays on ITV and ITVX

SIMON Cowell’s fiancee Lauren has revealed that being pregnant while married to her ex husband was ‘one of the hardest times of her life’.

The pair, who met way back in 2004 on holiday in Barbados, were first romantically linked together in 2013.

Lauren and her ex property tycoon Andrew Silverman started dating in the early 2000s, tied the knot in 2003 and welcomed their son Adam, 20, into the world in 2006.

Entrepreneur Lauren became pregnant with music mogul Simon’s child in 2013 and went on to welcome their son Eric, 12, into the world in February 2014.

This led to Lauren and Andrew’s divorce being finalised in November 2013.

Speaking on the Happy Mum podcast, host Giovanna Fletcher asked Lauren: “So, what was it like finding out you were pregnant with Eric?”

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Lauren admitted: “There are so many emotions that went with that, because it was the end of my marriage, obviously.

“It was one of the hardest times of my life, because, I don’t want to say regretful, because I don’t regret anything…

“Do I wish it had happened a different way… of course I do.”

She added: “But I think everything happens for a reason.

“It was just one of those moments where I knew it was right and that was what I wanted and that Simon was the person I wanted to spend my life with.

“And so, however we got there, I just believed that it was meant to be.”

She also opened up about her relationship with her ex now.

Lauren told Giovanna: “When I got divorced, it wasn’t a great situation at all. It was terrible.

“I feel really proud to say that we are many years past that point. My ex and I, we do have a very nice relationship.” 

Simon and Lauren took their relationship to the next step back in 2021.

The Sun exclusively revealed that Simon got down on one knee in Barbados.

A source told us at the time: “Simon and Lauren are ridiculously, nauseatingly in love – incredibly, lockdown brought them closer than ever.

“Lauren was absolutely stunned and never in a million years expected Simon to pop the question. She burst into tears – happy tears – and obviously said ‘yes’ straight away.

“It was important to Simon that the kids were there too, as he adores them both and the family they’ve become. 

“Lauren has been Simon’s rock over these past few years – supporting him when he broke his back, and through thick and thin generally. They make a wonderful couple.

“Whilst Simon never thought he was the marrying type, he’s realised he’s met the woman of his dreams – and couldn’t be happier. In the words of Beyoncé, it was time to put a ring on it.”